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1 • : I 

NEW AND ORIGINAL 


M A G I C' 


COMPRISING A NUMBER OF NOVEL 
AND ENTERTAINING EFFECTS 

A FUND OF INFORMATION FOR THE PROFESSIONAL 
ARTIST AND HIS YOUNGER BROTHER, 

THE AMATEUR 

I 


BY 


EDWARD M. MASSEY 



NEW YORK 

SPON & CHAMBERLAIN, 120 Liberty Street 
ENGLAND 

WILFORD HUTCHINSON, 104 . WHITEACRE ROAD 
ASHTON-UNDER-LYNE, LANCS. 

1922 






v * 41 


txfi 


COPYRIGHT, 

bv - \ 

EDWARD M. MASSEY, 1922 

Massey’s New and Original Magic 

All rights reserved, including that of translation 
into foreign languages. 


( 


, 


VAIL-BALLOU COMPANY 


BINGHAMTON AND NEW YORK 



©Cl. A (>7758 5 

/vv<3 V 



DEDICATED TO 
D. B. F. and H. S. C, 
WITH MEMORIES 





















I 

FOREWORD 


That much abused word “Original” has found a 
proper setting in this book of Mr. Massey. Sol¬ 
omon said, “There is no new thing under the sun.” 

For many years past, King Solomon’s sayings 
could be applied to magic, but Mr. Massey has 
disproved the axiom, and given us something new 
in practical magic. There lies latent in the brain 
of everyone, a vision, a dream, an imaginary some¬ 
thing that seeks to escape and become a reality, a 
tangible created thing of value. When Mr. Mas¬ 
sey submitted his manuscript to me for judgment, 
and criticism, I immediately thought of King Da¬ 
vid’s expression: “Out of the mouths of babes 
and sucklings, hast thou ordained strength,” and 
paraphrased it to “Out of the mind of the ama¬ 
teur, has been born a new thing in magic.” 

Mechanical magic has been neglected, and almost 
forgotten in the multitude of sleights and parlor 
tricks that have flooded the market and crowded to 
the wall the greater effects that demonstrate the 
science of magic or the magic of science. There 
has been a plethora of books on magic but a pau¬ 
city of magic in the books. 

New and Original Magic opens or revives an im¬ 
portant and indispensible field for both amateur 

and professional performers. Among the effects 

1 


2 


FOREWORD 


will be found something to meet every need, and 
satisfy the craving for something new. Not since 
Professor Hoffmann’s Modern Magic of forty- 
five years ago has there appeared a book on prac¬ 
tical mechanical magic, until Mr. Massey gave us 
this truly original work. 

The literature of magic is not only enlarged, but 
also enriched by this addition to the number, few 
indeed are the works that remain as permanent 
texts and guides for the worker in magic and mys¬ 
tery. I commend the book to you, my fellow la¬ 
borers, who seek to elevate magic, and place it 
among the arts and sciences, where it rightly and 
properly belongs. 

A. M. Wilson, M. D. 

Editor of “The Sphinx.” 


CONTENTS 

PAGE 

I. Introduction by Dr. A. M. Wilson, Editor 

of the Sphinx. 1 

II. Personal Observations. 3 

III. A Word on What Is to Follow . . . .16 

IV. An Opening . 18 

V. To the Colors ; or, the Makings of a Nation 24 

VI. A Diminishing Card. 31 

VII. The Sure-Fire Handkerchief Pistol . . 37 

VIII. The Drumhead Target. 43 

IX. Candle Smoke. 50 

X. The Pedestal Top. 55 

XI. The Automatic Release . . . . . .61 

XII. . -With Four Coins.. .66 

XIII. Prohibition. 73 

XIV. The Flower Cage. 81 

XV. A Borrowed Ring.85 

XVI. The Chest of Chu Chin Chow .... 91 

XVII. Blanc et Rouge. 98 

XVIII. The Candlestick Tray. 105 

XIX. With a Billiard Ball. Ill 

XX. Jack Rose. 117 

XXI. The Wrist Stock . . 122 



















CONTENTS 


PAGE 

XXII. The Rising Cards Again.129 

XXIII. The Borrowed Handkerchief and the Im¬ 
penetrable Casket . . . . . . .135 

XXIV. The Crystal Card Trapeze.143 

XXV. An Instantaneous Rose-Bush .... 150 

XXVI. Divination.155 

XXVII. Have a Smoke?.162 

XXVIII. Two at a Time.167 

XXIX. The Interrogatable Goblet.172 

XXX. A Magical Appendix.182 

Types of Servante.182 

Methods of Palming Cards . . . .184 

To Secretly Obtain a Silk Handker¬ 
chief .186 

A Black Art Table.187 

The Coin Jar.189 

Le Tourniquet Pass for Coins . . .191 

The Use of a Form.192 

Palming a Billiard Ball .... 195 

The Pass ..196 

The False Shuffle.198 

The Force.199 














NEW AND ORIGINAL MAGIC 







































« 








































I 








































< 


II 


PERSONAL OBSERVATIONS 

There is something fascinating about being able 
to mystify people. It seems easy enough now, but 
there was a time when, I thought that one must be 
endowed with some hidden power,—a sort of 4 4 Gift 
of the Gods.” I write, however, of the Magic that 
deals with playing cards, dainty bits of brilliant 
colored silk, and the like,—not the kind usually 
associated with long white beards and flowing 
robes. 

The very word 44 Magic” has a weird and 
mysterious sound, and the appeal of it reached 
out and captured me when I was quite a youngster. 
At about thirteen (the 44 Penrod age”) I happened 
to witness a performance of conjuring that meant 
more to me than any similar exhibition had, for 
I met the Magician himself after the performance. 
Finding me really interested he took great pains 
to initiate me into the mysterious art, and from 
that time on, I was a convert,—or I should say I 
44 have been”; for my interest in the subject con¬ 
tinues today. 

How well I remember my first visit to a 44 real” 
magical establishment. I had been anxious to get 

3 


4 NEW AND ORIGINAL MAGIC 

some regular professional apparatus, for my 
home-made accessories had become inadequate 
and my greasy pack of cards had been pushed to 
the limit practising passes, palms and shuffles. 
Even my chums had become tired of my telling 
them what card they had chosen, and the older 
people bored with my constant request to “take a 
card.” 

Starting out to visit “Yost & Co., Manufacturers 
of Magical Apparatus,” I was filled with expect¬ 
ancy, and as I walked down the street I visualised 
a large factory with great stacks pouring forth 
smoke and big show windows with marvelous 
apparatus on display.—There would be highly 
polished swords,—vases,—dice and handkerchiefs, 
balls and boxes and a skull. Yes, there surely 
would be a skull or two grinning at the passersby 
and daring them to come in and be initiated into 
the Magic Art. But as I walked the Magic Fac¬ 
tory failed to materialize. 

I was indeed disappointed and chagrined to 
find the great “Yost & Co.,” in a very modest 
abode on a side street. The shop itself was 
reached by a short flight of steps, at the end of a 
dark little hallway. Up the stairs I went not 
knowing what minute a skull would suddenly ap¬ 
pear or the clanking of chains send me scurrying 
down again. 

Safely reaching the top, I opened a door and 
found myself in a small room, where I discovered 


PERSONAL OBSERVATIONS 


5 


two counter show cases, and around the walls 
glass-fronted cabinets. In the cases were the 
most intriguing looking pieces of apparatus—ex¬ 
quisitely finished mahogany boxes, bowls of glass, 
—rapiers that “D’Artagnan” himself would have 
been proud of—intricate mechanisms of marve¬ 
lous workmanship, brilliant colored silk handker¬ 
chiefs, balls, plates, handcuffs of metallic cruelty, 
padlocks, a nickel plated collar for what purpose 
I could not even guess. Corks, dice, packs of 
cards, silver coins of shining brilliance, goblets, 
and rings, pistols and—“Well sir, what can I do 
for you?” 

I looked up frightened, expecting to behold 
some Mephistophelean creature, and my gaze fell on 
a very kindly appearing gentleman, with white 
hair. He was quite small, and I can remember 
now how white and neat were his cuffs, as he 
placed his hands on the counter in front of me. 
He wore a gray suit and on his head a derby hat. 
He was not exactly commercial looking, more like 
a doctor or the “old school” type of barrister, and 
above all decidedly not magical in appearance. 

“What could he do for me?” I was taken 
aback:— 

Seeing me quite bewildered, Mr. Yost (for it 
was he), suggested that I buy one of his cata¬ 
logues, to take home and look over, and return at 
another time to invest in some of the wonders of 
his shop. 


6 NEW AND ORIGINAL MAGIC 

I was fascinated immediately by the brilliant 
red and green design on the cover of the cata¬ 
logue. 

A dapper-looking conjuror was in the act of 
pulling a rabbit from a high silk hat, while a sec¬ 
ond cotton-tail scampered away. In the back¬ 
ground stood a dainty magician’s table. The 
conjurer himself had the most carefree expression 
—as if such a feat were no more than snapping 
one’s finger. 

What wonders that catalogue held!—magically 
growing flowers that could be really cut and 
handed out to the audience, vanishing birds and 
cages, rising cards from a deck. Before long I 
had worried my family into giving me magical 
apparatus, instead of toys for presents, and soon 
had quite a collection. 

And my first “regular” performance—how I 
prepared for it! One of the newest things I had 
learned was the levitation of water in a glass. 
That is, a glass of water is covered with a thin 
piece of paper and then inverted. The paper is 
slowly pulled away, and the water remains in the 
glass. Marvelous! Not at all. The water is se¬ 
curely held within the glass by a piece of cellu¬ 
loid of the same diameter as the mouth of the 
glass. The vacuum thus created, holds the cellu¬ 
loid on and the water in. Though very simple it 
really is quite an illusion. 

I, however, was anxious to improve on it, and so 


PERSONAL OBSERVATIONS 


7 


decided to make it real professional, by using 
wine instead of water. The effect would be so 
much better. By devious methods I annexed a 
bottle of my father’s choice claret, and secretly 
placed it 44 off-stage” in readiness for my 44 levi¬ 
tation ’ ’ experiment. 

The show began and worked up to the wine ef¬ 
fect. I carefully tilled the glass, and did succeed 
in placing the celluloid on without suspicion. 
And then I got “cold feet.” Suppose something 
went wrong? How the claret would stain the 
oriental rugs. Ho, I dare not chance it. So I 
left my audience gazing at the glass of wine, 
while I dashed in search of a basin. When I re¬ 
turned, I was no longer the cool and collected 
magician, but a very much out of breath boy. 
The basin was placed on the table and the glass 
of wine carefully inverted over it, the paper peeled 
off gingerly and—bllopp—down came the wine, 
hitting the basin off center, so to speak, and 
tobogganing up the other side—all over my nice 
white blouse. The performance was over. Elders 
rushed up. 44 Why child, ” 44 Why didn’t you use 

water?” 44 Child!” How I hated to be called 
44 child!” Well—older people had no idea of real 
stage effects, they didn’t. I didn’t want to be a 
44 parlor magician,” but a real conjuror with real 
“perfessional” apparatus, ’n everything. 4 4 Aw, 
shucks.” 44 Older people just couldn't under¬ 
stand”— 


8 


NEW AND ORIGINAL MAGIC 


Before long I became known around the neigh¬ 
borhood as “the kid that does tricks.” When¬ 
ever we had company or visitors at home I would 
give the most elaborate shows lasting from an 
hour and a half to two hours. On these occasions 
I would have my assistant “Kito,” who in private 
life was my closest chum, Herbert. “Hub,” as 
I called him (off-stage of course), came from a 
family of tall people, and I from smaller ances¬ 
tors, so before long the assistant “Kito” far out¬ 
stripped the “Professor” in height. It never 
occurred to me then, but now, as I look back, how 
incongruous it must have been for the “Great and 
Only” to be compelled to go on tip-toe to take 
a goblet from a tray held by the willing ‘ ‘ Kito! ’ ’ 
We worked well together, Hub and I. He was 
expert in pulling the right thread at the right 
time, in slipping a card into an unsuspecting 
person’s pocket; or carrying a “Load” of hat 
production material suspended on his back, until 
the time came for me to scoop it into the silk hat, 
which I had previously shown empty. How 
cleverly he would snatch a borrowed handker¬ 
chief from my palm, as he passed me a candle to 
burn a duplicate. How naively he would collect 
slips of paper from the spectators on which they 
had written numbers, and “switch” them, handing 
me the duplicate papers, while he unostentatiously 
slipped off stage, to secretly add up the original 


PERSONAL OBSERVATIONS 


9 


ones. He then would appear with the “Magic 
Picture Frame,’’ which at a pistol shot would 
reveal the figures and the total. How marvelous! 
I then would bow and accept the applause of the 
audience,—after Hub had done all the work. He 
surely was my mainstay, and frequently turned 
failure into success by a psychologically “timed” 
piece of “business.’’ 

We never missed a chance to see a professional 
magician and were rapt spectators at the various 
exhibitions given by notables of the Magic World. 
The incomparable Kellar and a host of lesser 
lights were watched with keen interest for ideas, 
methods and suggestions. 

My fame (?) soon spread and before long it 
reached the ears of well-meaning promoters of 
charity bazaars and the like. “Oh, wouldn’t I 
like to help them out with some sleight-of-hand 
at the church entertainment for the benefit of the 
poor children of “Umpty-TJmp”? “Just think 
what it will mean for those poor dears.” Thus 
I was lured into many performances that were 
indeed a test for nerves. 

As I grew older and more experienced, it became 
quite a problem to gracefully “turn down” the 
many requests for a magical contribution to 
charity, and even more frequent shows just for 
“fun.” However when these engagements would 
conflict, I could turn one down in favor of another, 


10 


NEW AND ORIGINAL MAGIC 


because I kept my performances on a strictly 
amateur basis, gladly giving my time free, so that 
I was able to be more independent. 

Having followed Magic as a Hobby for a good 
many years, it has been very interesting to notice 
the varied types of spectators, and the unusual 
conditions under which one is called upon to 
appear. 

I was called upon to perform at country clubs 
with their blase and sophisticated atmosphere, in 
factories with belting and wheels and looms for 
a back ground, on the polished floor of a ball room, 
or the uneven “location” of a picnic. 

Sometimes I would lend my graceful (?) pres¬ 
ence at asylums for slightly deranged children or 
at parties for definitely deluded debutantes, at 
other times I would appear in the slums to amuse 
unkempt urchins, or after dimier for a happy 
bridal pair. 

Variety may be the “Spice of Life,” but to the 
amateur magician it is the life itself. One of the 
most fascinating things about it all is that one 
never can tell what the next show will bring forth. 
Once answering a hurry call to help out a friend 
I prepared an hour’s performance in the interior 
of a madly careening taxi-cab. 

And the preparation of a Magical exhibition is 
the most important part of all. A great many 
people think that showing some sleight-of-hand 
means merely “showing” it. They do not realize 


PERSONAL OBSERVATIONS 


11 


the painstaking arrangements necessary to the 
most modest performance. Nor do they appreci¬ 
ate the packing away process, which involves 
keeping track of a multitude of tiny though very 
important unseen accessories. 

Though conjuring brings into play apparatus 
of the greatest importance to the spectator’s mind, 
this apparatus is in reality secondary to the 
success of the performance. The most important 
side of Magic is the psychological or mental. 
In other words the effect made on the mind of 
the audience by a combination of misdirection and 
manipulation. It is not because the box may have 
a trap, nor that a mirror is used, nor numerous 
other secret accessories brought into play, but the 
clever handling of the spectators themselves that 
makes a successful illusion or deception. 

The child, as a rule, is very hard to mystify, 
for the reason that a child will not jump at con¬ 
clusions. Every step is watched carefully, and 
nothing is taken for granted. It is harder to fool 
a room full of youngsters than many a brilliantly- 
beaned scientist. 

Spectators will instinctively look where the 
performer looks, and knowledge of this fact is the 
magician’s faithful ally, for on it depends the art 
of misdirection. Contrary to the accepted theory 
that “the hand is quicker than the eye,” when the 
hand is quick it attracts attention, and the eye 
can see what is taking place. But if the eye is 


12 


NEW AND ORIGINAL MAGIC 


looking elsewhere, when a particular move is made, 
to that person’s mind, the move was never made 
at all. 

Try this yourself, while talking in a group of 
four or five people. As you talk, turn your eyes 
directly on one person in the group. Immediately 
everyone present will look at that person. This 
principle of making people look where and when 
the magician wishes is responsible for many a 
“great” and “marvelous” prefix being attached to 
otherwise commonplace individuals. 

If at a social gathering someone is requested 
to sing, or recite, everyone is psychologically with 
the performer, they instinctively want to see him 
succeed. They do not want to place him in an 
embarrassing position. But if anyone gets up to 
show some sleight-of-hand, no matter how simple, 
then it is different—everyone in the room is 
instinctively against him. They are anxious to 
“catch” him. They seem to think that sleight-of- 
hand or conjuring is a series of puzzles presented 
for their solution, and not for their entertainment. 

This situation makes Magic one of the most 
intriguing forms of entertainment. And this 
very same fact makes it so interesting as a hobby. 
When one has succeeded in fooling a room full 
of people, who have a very “wise” and “you can’t 
fool me” attitude, then—as a famous cartoonist 
puts it—“Ain’t it a grand and glorious feelin’?” 

The slightest detail going wrong in an exhibi- 


PERSONAL OBSERVATIONS 


13 


bition of Magic places the performer in a most em¬ 
barrassing position. Resourcefulness is required 
to pull oneself out of these mean situations. 
Knowing that one never can tell when something 
will go wrong, but with the assurance that if it 
does some method of handling the situation will 
be found and must be found, is why the art of 
Magic is so fascinating. 

How odd people are in their expressions, after 
they have witnessed some particularly mystifying 
experiments. They frequently say:— 4 ‘My, but 
those were wonderful tricks you did.” (They al¬ 
ways call them 4 ‘ tricks. ”) “But of course I am so 

dumb at such things, anyone can fool me easily.” 
Or something like this—“ Where in the world did 
you learn all those wonderful things?” “Did 
you take lessons?” 

Another peculiar fact is, that at nearly every 
gathering there is someone who comes out with 
something like this:—“Yes, yes, very clever, but 
do you know, I saw a fellow not long ago, who 
did a great trick.” “It was the most wonderful 
thing I ever saw.” “Perhaps you can tell me 
how it was done.” “It was like this—Let me see 
now, Oh, Yes, he took a pack of cards, and had 
three chosen—was it three or four?—Well any¬ 
way-” And then he proceeds to explain, with 

numerous contradictions, some absolutely impos¬ 
sible effect he thought he saw, and winds up with 
a triumphant:—“There, how was that one done?” 



14 


NEW AND ORIGINAL MAGIC 


The best thing to do under the circumstances is 
to smile and say something about it 44 being very 
clever” and 44 cannot imagine how it could be 
done,” for the situation is quite hopeless. This 
is a curious psychological study—a person is 
trying to explain a series of manoeuvers of which 
he has not the slightest conception. He explains 
what he thinks he saw; in reality the effect made 
on his mind by the magician’s misdirection. 
Futhermore the description is frequently dis¬ 
torted by an absolutely unintentional inclination 
to make the conditions of the experiment so very 
difficult. For if the conditions were easily seen 
through, his reputation for being so keen on these 
things would suffer, and had he not told me only 
a minute before that — 4 4 this was the most wonder¬ 
ful thing he had ever seen?” 

Truly an interesting mental situation. 

Then there is the well meaning party who 
happens to know a sleight with cards, and when 
pressed to show it, murmurs something about, 4 4 If 
I haven’t forgotten it.” He takes a deck of cards 
and proceeds with the most complicated directions, 
such as:—Add fifteen cards here; subtract the dif¬ 
ference between this pile and that pile and the an¬ 
swer will be equal to the difference between the 
first pile and the last pile—By the time the climax 
has been reached everyone is so bored with the 
multitudinous directions and manipulations that 
no one knows what the whole thing is about any- 


PERSONAL OBSERVATIONS 


15 


way. There is nothing worse than the parlor 
magician with intricate string “tricks” and devi¬ 
ous card calculations. 

A few well chosen and perfectly executed effects 
frequently create a greater wonderment on the 
part of the spectators than a stage full of elabor¬ 
ate apparatus. 

The tendency is for the magician to do too much, 
whether he be a professional on the stage or an 
amateur on a hobby. It is far better to leave the 
spectators wanting more than it is to lose their 
keenest interest for even a second. And to hold 
their attention something new and different must 
be shown. 

With this in mind the following experiments 
have been arranged. And so if the reader finds 
therein something new, and much that is different, 
the Author will not have worked in vain. 


Ill 


A WORD ON WHAT IS TO FOLLOW 

The following experiments in the Deceptive 
Art of Magic are not merely theories and sugges¬ 
tions as to “how it might he done,” but each piece 
of apparatus has been proven practical and has 
been constructed as described in the ensuing 
pages. The various manipulations have been 
worked out, and each experiment has been success¬ 
fully exhibited. It has been taken for granted 
that the reader is familiar with certain magical 
principles;—such as the “Pass,” the “False 
Shuffle,” “Palming,” the use of the “Servante,” 
etc, etc., as these have been explained in numerous 
text books on Magic. However an Appendix has 
been provided at the end of the book describing 
various standard manipulations, terms and the 
like, for the benefit of those not familiar with their 
use. 

The “Analysis of Manipulation” at the conclu¬ 
sion of many of the descriptions will be found 
most useful in rehearsing, inasmuch as at this 
point the directions have been “boiled down” to 
the simplest possible terms. Therefore with a 
certain piece of apparatus in hand, the reader 
16 


A WORD ON WHAT IS TO FOLLOW 17 

may find at a glance the exact method of using it, 
without the necessity of looking through the main 
body of the description for any particular part. 

Simply because a piece of mechanical apparatus 
is used in an experiment, it does not mean that it 
will work itself. 

Every piece of magical apparatus should be 
handled with the same amount of precision and 
care as the most difficult sleight with coins or 
cards. Only in this way can a smooth running 
effect be produced. 

The line of “patter” suggested with each ex¬ 
periment is intended to merely aid the reader in 
“setting” the effect. The majority of performers 
have their own individual mannerisms and 
phrases and find it more practical to use their own 
wording, instead of following a line of “patter” 
written without their own personal requirements 
in mind. 

Every magical creation in the hook is original, 
according to the best knowledge and belief of the 
Author. 

However care has been taken to investigate, in 
order to ascertain, whether any of the experi¬ 
ments, manipulations or apparatus have been used 
before. 

The result of these investigations has been that 
the following pages contain, we believe, 

“New and Original Magic.” 


IY 


AN OPENING 

To secure the immediate attention of the aud¬ 
ience is the desire of every performer. It is par¬ 
ticularly difficult for the sleiglit-of-hand expo¬ 
nent ; inasmuch as he prides himself on the absence 
of showy apparatus, and were he to produce large 
and bulky articles, it would not be in keeping with 
his style of presentation. The following experi¬ 
ment will be found to be quite practical as an 
Opening for the specialist in sleights. 

Performer enters holding a large cotton hand¬ 
kerchief in one hand. A small undraped magi¬ 
cian’s table is already on the stage. The two 
upper corners of the handkerchief are clipped by 
the first two fingers of each hand, and the hand¬ 
kerchief thus spread out, is held well away from 
the body. Both sides are now shown free from 
preparation. 

Approaching the table, the handkerchief is held 
for a moment in front of it as a curtain. Being 
snatched away a small oriental bowl is revealed, 
with a flower growing to a height of about twelve 
inches. The flower is snipped off with a pair of 

scissors and tossed to a spectator. 

18 


AN OPENING 


19 






20 


NEW AND ORIGINAL MAGIC 


The mechanical construction of the bowl and 
flower stalk may be seen by looking at the sketches. 
Figure 1 showing the bowl and flower as seen by 
the spectators. Figure 2 the construction. 

The “Key” to the situation is contained in the 
peculiar shaped “crook” or bend in the end of the 
bent rod which forms the stalk of the flower, and 
is covered with artificial leaves. See “A” in il¬ 
lustration. The crook is concealed by the flower 
and leaves when they assume an upright position. 
The thumb is inserted in this crook, and inasmuch 
as the bowl is of the thinnest brass and empty, it 
takes no display of physical strength to hold the 
entire apparatus on the thumb at a right angle to 
the body. 

Before entering the magician ties a rose or car¬ 
nation to the end of the fake stalk. Then folds 
the stalk so that the flower goes down into the in¬ 
terior of the bowl. It is secured by a small catch 
of bent wire, which hooks under the rim of the 
bowl. This catch holds, as long as the stalk is in 
an horizontal position, but releases when stalk is 
brought upright. The upright flower and leaves 
then conceal the “crook” from the audience. 

The bowl is placed under left side of coat with 
the “crook” at edge of coat lapel. The left hand 
carelessly holds the handkerchief clipped between 
the first fingers. This helps conceal any bulge on 
the left side, and prevents the spectators on the 
right of the performer from getting a glimpse of 


AN OPENING 


21 


the bowl under the coat. Also the left hand held 
so, hides the “crook,” which protrudes about two 
inches from the edge of the coat. 

Right hand now approaches the left and taking 
corner of handkerchief between first two fingers; 
(simultaneously thumb is inserted in “crook”) 
it draws the handkerchief thru the fingers of the 
left hand. This brings the bowl out from under 
the coat, and by the time the handkerchief is 
stretched out in front of the body, the bowl is 
hidden behind it as in Figure 4 (Read the above 
again). 

This pose shows palms empty and arms 
stretched away from body, and is most convinc¬ 
ing. In executing the above, all must be deliber¬ 
ate and yet, no hesitation. 

Now the hands are crossed to show the other 
side of the handkerchief. The left hand crosses 
over in front of the right, and as it does, the bowl 
is again shoved back under the coat. The table 
is approached and handkerchief brought back to 
its former position, taking care not to allow any 
part of the bowl to be seen, as it is reversed. 
Handkerchief is then held as a sort of curtain in 
front of table top. 

Right hand being suddenly dropped; bowl hits 
table, stalk then being upright is secured there by 
catch; flower springs up; thumb released, and 
handkerchief is snatched away. 

This effect requires as much practice as any 


22 


NEW AND ORIGINAL MAGIC 


sleight with cards and although a piece of mechan¬ 
ical apparatus is used the success of the experi¬ 
ment depends on the manipulations, all of which 
should be made slow and deliberate. 

Memorizing the essential points in the manipu¬ 
lations will greatly aid the performer. 

1. After placing the bowl under coat, enter. 
Handkerchief in left hand which grasps lapel. 

2. Right approaches left. Corner of handker¬ 
chief clipped by fingers of right hand. Right 
thumb in “crook.” 

3. Upper edge of handkerchief pulled thru 
fingers of left hand, as bowl is drawn from coat. 

4. Hands crossed. Left in front. Bowl re¬ 
turned under coat. 

5. Approach table. Swing handkerchief around 
to curtain table. Bowl out again, hidden by hand¬ 
kerchief (Fig. 4). 

6. Lower right thumb. Bowl on table. Re¬ 
lease thumb. Snatch away handkerchief. 

A mirror will be found a great aid in working 
out these moves and after a bit of practice, they 
can be done in a most unassuming manner. 

A LITTLE LINE OF PATTER 

Ladies and Gentlemen, with your kind atten¬ 
tion I will endeavor to present for your considera¬ 
tion a few simple experiments in the gentle Art 
of Magic, Conjuring or Prestidigitation. 


AN OPENING 


23 


You will notice I do not resort to large cabinets, 
elaborate mechanisms or the like, but with a few 
simple accessories I will present my effects. 

This small stand, or table for instance. You 
see it is free from trickery. Just a board top 
scarcely an inch thick and without drapery of any 
kind. 

This handkerchief also without trickery, for I 
spread it out at arm’s length in front of you. 

There is nothing on this side and—nothing on 
this side. 

I now very carefully and slowly. Mark you— 
slowly, place the handkerchief in front of the 
table as a curtain for an instant, when, Lo— 

A beautiful flower on a stalk. How sweet it 
smells. You doubt me? Very well. I shall 
clip it with my sissors. Here, Madame, see for 
yourself that this is truly a growing flower. 

I thank you. 


V 


TO THE COLORS; OR, THE MAKINGS 
OF A NATION 

Since America’s participation in “The Great 
War” patriotism has taken on a new meaning, 
and while it is hardly legitimate Magic to bring 
in the Flag in order to force appreciation, the 
following effect, if properly handled, without too 
much gusto and blare, will not be found out of 
place. 

The materialization of the American Flag in this 
experiment is logical and its production is the na¬ 
tural result of a combination of materials. 

On the performer’s table are three candles in 
candlesticks. One red; one white; and one blue. 
Each candle is lit. Picking up the red candle¬ 
stick, the Magician pinches from the extreme tip 
of the flame—red streamers, the width of the red 
stripes in an American flag of 15x24 inches. From 
the flame of the. blue candle, the starred corner of 
a flag is plucked, and finally from the white— 
white silken streamers. 

An unprepared piece of newspaper, about 10 
inches square, is now inspected, and after rolling 
the streamers inside the starred corner of flag, 

24 


TO THE COLORS; OR, MAKINGS OF A NATION 25 



V 





















26 


NEW AND ORIGINAL MAGIC 


all are wrapped in the newspaper—A shot.— 
Package opened, and the materials have joined 
themselves in—“To The Colors.” 

The ribbons or streamers are each attached to 
hooked wires and concealed in openings made in 
the upper part of the candlesticks, after being 
carefully rolled up. Care should be taken that 
the streamers be rolled from the free ends up to 
where they are sewn to the wire. This insures 
their unrolling rapidly. These ‘ 4 rolls ’ ’ are now in¬ 
serted in the openings in the candlesticks with the 
wire running up in back of the candle. The open¬ 
ings are naturally placed to the rear. Figure 1. 

All that is required is to “hook” the right 
thumb under the wire on the upward stroke of 
the hand—a quick jerk and the ribbons appear to 
spring directly from the flame (Fig. 2). 

The blue candlestick is prepared in a different 
manner however; a small opening in the base be¬ 
ing sufficient to conceal the starred corner of a 
flag. 

After producing red streamers the conjuror 
picks up the blue candlestick, strokes candle in ex¬ 
actly the same way as he did the red, but with the 
left hand, holding the base of the candlestick in 
the right hand. This gives ample opportunity for 
the fingers of the right hand to extract the starred 
corner secreted in the base. 

After a few attempts with the left hand, appar¬ 
ently something being wrong, as nothing has been 


TO THE COLORS; OR, MAKINGS OF A NATION 27 

produced from flame, conjuror exclaims:—“Oil. 
I used my left hand—things cannot be possibly 
right.” At the word “right,” right hand con¬ 
taining silk comer snatches at flame and produces 
starred corner of flag. 

And now as the white candlestick is brought for¬ 
ward the spectators are not quite sure in just what 
manner this is to be handled, as each of the other 
two have been manipulated differently. How¬ 
ever, without giving them time to think much 
about it, the white streamers are clutched from 
the flame in the same manner as the red. 

Just above the servante 1 * on the magical table 
is placed a small clip holder (Figure 3) made of 
wire—such as used to hold a glass of water. 2 The 
flag is rolled up so that no portion of the red or 
white is visible, and a rubber band is placed 
around it. This rubber band has attached, a piece 
of heavy thread eight inches long, to the end of 
which is fastened a small piece of cardboard, tri¬ 
angle shaped and covered with newspaper (Fig. 
3). 

The rolled-up flag is placed on the clip-holder 
with the thread leading up on top of the table and 
triangle of cardboard under the piece of news¬ 
paper. 

And now after the red and white streamers and 
the starred corner of a flag have been material¬ 
ized as already described, the newspaper is shown 

i * See Appendix 1A. 2 App. IB. 


28 


NEW AND ORIGINAL MAGIC 


and placed on the table again, over the small piece 
of triangle-shaped card-board, so that both can be 
easily and quickly picked up together. The rib¬ 
bons are then rolled into the starred corner of flag 
and secured with a rubber band. 

With this in right hand the newspaper is picked 
up with left hand and with it the small piece of 
triangular cardboard to which it will be recalled 
is attached the thread and real flag rolled up. 
The streamers and corner are dropped into ser¬ 
vants. 1 By this time left hand has raised the 
newspaper so that the thread has pulled the real 
flag up on table top. This is quickly grasped and 
visibly wrapped in the newspaper. 

This exchange absolutely blends, inasmuch as it 
does not involve two motions of the right hand, 
namely:—the laying down and picking up of ob¬ 
jects. One is merely dropped into servante, while 
the other is pulled up into the hand by the thread. 
One perfectly blended movement and indetectable. 

At the pistol shot the newspaper is torn open, 
care being taken to conceal thread and small 
piece of cardboard while rubber band is removed. 
Flag is tossed to party in audience to unroll and 
examine. 

Analyzing the essential movements of this ef¬ 
fect, they will be found thus:— 

1. Bed streamers hooked into right thumb and 
produced from red candle flame. 

1 Appendix i. 


TO THE COLORS; OR, MAKINGS OF A NATION 29 

2. Starred corner of flag palmed out of base of 
blue candlestick, as. left clutches flame in vain. 
Corner produced by right hand. 

3. White streamers snatched quickly by right 
hand from white candlestick. 

4. Newspaper shown, laid on small cardboard 
triangle on table top. (Piece of newspaper about 
10 inches square.) 

5. Streamers rolled in flag corner—secured by 
rubber band. 

6. Left picks up newspaper and cardboard tri¬ 
angle raising real flag from wire holder. Right 
drops streamers and corner. 

7. Real flag rolled in newspaper—shot—Rubber 
band removed—thread and cardboard triangle 
concealed in hand. Flag produced. 

THE PATTER 

May I now call your attention to these three 
candles burning brightly in their candlesticks ? 
One red, one blue and one white. 

My hands conceal nothing, and you may see 
both the front—and the back. 

I take up the red candle from its candlestick, 
and with my right hand pinch the flame. Flames 
are peculiar for if you look at them just right 
you can see any color therein. And if you handle 
flames right any color may be produced. The 


30 


NEW AND ORIGINAL MAGIC 


candle is red—therefore I seem to see red more 
clearly in this flame. I also take .... from the 
flames these beautiful streamers. 

And now for the blue. In the same manner 
I stroke the candle upwards terminating at the 
flame with a quick pinch. Something seems to 
be wrong. Oh, I see now, I have been using my 
left hand—things can not possibly be right. I 
snatch at this blue flame with my right hand . . . 
What have we here ? Why it is the starred 
corner of an American flag. Naturally. 

I take the white, burning with its steady white 
flame . . . you see white streamers to go with the 
red. And now to blend these materials into their 
natural conclusion. 

This unprepared piece of newspaper I will use 
to accomplish the weaving together of the pieces. 

I wrap the red and white streamers carefully in 
the starred corner, and secure all with this rub¬ 
ber band, and wrap the roll of silk in the paper. 

One, Two, Three! Eed, White, Blue! 

There you see our flag is made . . . long may 
she wave. 

I thank you. 


VI 


A DIMINISHING CARD 

A playing card which becomes smaller and 
smaller, until it is hardly as large as a postage 
stamp, can be used as an adjunct to almost any 
card effect. There is something about watching 
an object diminish in size that seems to appeal 
to an audience. And this is true of this effect 
in particular, since it is accomplished with one 
hand only. 

A close study of the illustrations will be 
necessary in order to construct this mechanical 
diminishing card. 

Procure four court cards, of the same value, 
but each about one half the size of the preceeding. 
That is:— 


Standard size playing card. 2% X 3% inches 

Next smaller . 1 % X 2% 7 ’ 

” ” . i/4 x 1 % ” 

Smallest . % X1% ” 


The largest card is folded in half, and on its 
back is pasted the next size smaller card. How¬ 
ever this smaller card is secured by one half only, 
leaving the other half free to be folded up or 

31 






32 NEW AND ORIGINAL MAGIC 

clown (Fig. 2). This card in turn is folded in 
half, and to its reverse side is pasted the third 
smaller card (Fig. 3). It will be found that 
this third smaller card does not fold in half, but 
more towards the upper end, as indicated by the 
dotted lines (Fig. 3), and that it is pasted flat 
to both the original card, and the next in size. 

On the rear of the other half of the original 
card, is a hinged holder made of playing card 
material. Into which the smallest card is slipped. 
This holds the smallest card, and yet allows its 
face to be seen (Fig. 4). “X” is the front of 

the envelope-like holder. “Y” the card, and “Z” 
the index painted on the holder which represents 
part of the margin of the card. The holder is 
hinged, diagonally across this half of the original 
card (Fig. 4) so that it may be extended or folded 
flat against the back of the original, at will. The 
entire back of the original and the holder is 
painted black, with the exception of that part of 
the holder which represents the margin of the 
little card. 

After the construction of the card according 
to the above description, and a careful study of 
the sketches, the manner of presenting the effect 
follows:— 

The card is taken in the right hand (Circle 
A) with the half that has the holder attached 
at the bottom. The fingers on the face of the 
card and the thumb at the rear, which presses 


A DIMINISHING CAED 


33 



VI 





































34 


NEW AND ORIGINAL MAGIC 


against holder and smallest card, keeping them 
flat on the back of the card. 

With a flourish of the hand, the forefinger folds 
down the upper half of the card, and the next 
smaller card is revealed. (Circle B). The ex¬ 
tending edge of the original card is painted black 
so that it will not be noticed between the fingers. 
As this smaller card is shown, the fingers press 
against its margin to prevent it folding down. 

Once more with a flourish, the forefinger folds 
down this smaller card, and the third size is re¬ 
vealed. The fingers again conceal the now larger 
part of the original card, which extends. (Circle 

C) Being painted black, this extending part is 
not seen between the fingers, and the card appears 
to be held by the fingers on the right margin. 

Now the thumb which, it will be remembered, 
has been pressing against the holder and smallest 
card in the rear, is released, and the entire folded 
half of the original card, is turned over in the 
fingers. At this movement the holder folds out, 
and as the hand is turned slightly upward, the 
smallest card appears at the finger tips. (Circle 

D) . 

The left hand now approaches, and pulls this 
littlest card out of the holder, and offers it for 
examination, while the right palms 1 the rest away 
(Circle E). 

i See Appendix 2A. 


A DIMINISHING CARD 


35 


In the sketches within the circles, the dotted 
lines represent the part of the card which is con¬ 
cealed by the fingers at the successive foldings. 
It is not necessary that the fingers be pressed close 
together, as the extending part of the card, painted 
black, will not be seen at a short distance. 

Since a much clearer understanding of this Di¬ 
minishing Card, is obtained from the sketches, 
rather than the description, anything further 
might be superfluous. 


PATTER 

The King of Spades. How regal he looks with 
his imperious trappings. But alas, Royalty is go¬ 
ing out of fashion in these modern times of World 
Wars. The power of Kings must he lessened. 
And so we shall reduce you, Oh King. 

I wave the hand of Democracy in front of you. 

And now you are not so large. But still you are 
too much in evidence. 

Once more I command. 

There, that is better. 

A little more yet and you will be quite small and 
insignificant. There you are, quite out of keeping 
with the rest of the pack. Too small for their 
company. 

And so you see what happens to the wicked 
Royalty, for the King of Spades is the wickedest 


36 NEW AND ORIGINAL MAGIC 

King in the pack, and so he must be reduced. 

Would you like to examine him? He is quite 
harmless now, I assure you. 

I thank you. 


VII 


THE SURE-FIRE HANDKERCHIEF 
PISTOL 

A silk handkerchief hung over the barrel of a 
small target pistol; vanishes at a shot. 

While a pistol to cause the vanishing of a silk 
handkerchief is far from a new idea in Magic, this 
one will be found to possess the advantage of being 
absolutely dependable. A feature which surely 
ought to make it interesting. 

The advantage of the “Sure-Fire” Handker¬ 
chief Pistol lies in its simplicity. No rubber 
bands or springs to fail at the critical moment. 
Furthermore, no impossibly long barrel which all 
but tells the audience where the handkerchief goes. 

The silk is not hung over the end of the barrel, 
but near the end, as in Fig. 2 (D). The barrel is 
but Y 2 inch in diameter. 

In Figure 1 of the illustration, “B” is the barrel. 
This it will be seen curves from the hammer down 
to the end of the stock and allows more room for 
the handkerchief, which could not possibly be con¬ 
cealed in the barrel part alone. This accounts for 
the handkerchief vanishing on such a short barrel. 

37 


38 


NEW AND ORIGINAL MAGIC 


The straight part of the tube is, of course, alone 
visible to the audience. 

Figure 1 is a rear view. “A” is an opening cut 
in rear of barrel just under the “sight.” The 
other “black” portion in the illustration repre¬ 
sents another opening in the tube, through which 
the handkerchief may be extracted after it has 
“vanished.” 

A piece of strong cord runs thru the tube from 
“A” to “C.” At the “A” end of cord is a metal 
hook, but with a small straight projection filed to 
a point. This point fits into a hole in a wooden 
plug placed in the very end of the barrel. This 
prevents hook from rattling around and makes it 
readily “get-at-able.” At the opposite end of the 
cord at “C” is attached a button, and here the cord 
runs thru a small hole in the closed end of the tube, 
which prevents the hooked handkerchief from be¬ 
ing pulled entirely out of the tube. 

The pistol itself is simply a toy “cap” pistol, 
with one half removed, leaving the trigger and 
hammer part intact. The iron barrel is cut off, 
and the tube secured in its place, with the bent 
portion running down behind the “grip” or 
“stock.” All is to be nickel-plated. Thus it will 
be readily seen, that the pistol should be handled 
with the “open” side away from the audience and 
placed on this side when it is laid down. 

It is six inches from the “sight” end of tube to 
where it joins pistol proper and the tube is one- 


THE SURE-FIRE HANDKERCHIEF PISTOL 39 



VII 


















40 


NEW AND ORIGINAL MAGIC 


lialf inch in diameter. A twelve inch square silk 
handkerchief of the finest grade is used. 

With the stock placed under the right arm-pit 
in order to leave both hands free' the silk handker¬ 
chief is held by one corner in the right hand and 
doubled in the middle. The left forefinger dis¬ 
engages the hook from the wooden plug in the end 
of barrel, and the doubled portion of the silk is 
“ hooked, ” care being taken that hook shall be 
pushed in so that it cannot catch in opening in 
barrel. Fig. 2 (D) shows the operation at this 
point, with the handkerchief ready to be vanished. 

Two or three ordinary paper “caps” have been 
loaded in the pistol beforehand, with the hammer 
gently allowed to rest on them to prevent them 
dropping out. The pistol is held in the right hand, 
while the right thumb carefully raises the hammer 
and “cocks” the pistol. Performer standing with 
the right side facing audience. 

At the instant of pulling the trigger, the right 
arm is shot straight out away from the body. The 
left hand clutching the button between the fingers, 
remains stationary at the body. This quick move¬ 
ment pulls the handkerchief into the barrel and 
down the tube behind the stock. The length of 
cord is quickly placed in the right hand with the 
stock of the pistol, as it is laid on the table. 

The end of the barrel is closed, so that in placing 
pistol on the table it is well to place it with barrel 


THE SURE-FIRE HANDKERCHIEF PISTOL 41 

pointing at audience, to allow them to see that the 
handkerchief did not go in the end. 

It is most important that the cord should not be 
pulled by the left hand, but by the right arm lung¬ 
ing forward in a natural manner. 

Looking over the illustrations will show the con¬ 
struction and operation of the pistol as it is far 
more simple in “construction and operation,” 
rather than, “ description. ” 

Essential points of manipulation in order of 
action:— 

1. Stock of pistol placed under right arm-pit, 
barrel horizontal. Right side to audience. 

2. Handkerchief held by corner doubled with 
aid of left. Left forefinger dislodges hook, and 
inserts doubled part of silk in hook. Hook now 
pushed in barrel past edge of opening. 

3. Two fingers of left hand, grasp button at 
end of cord. 

4. Right thumb cocks pistol. 

5. Right forefinger pulls trigger.—Shot! 

Simultaneously right arm lunges forward. 

Left arm stationary against body. 

6. Cord placed in right hand with pistol.— 
Pistol placed on table. 

PATTER 

Have no fear, Ladies, for this pistol is not so 


42 


NEW AND ORIGINAL MAGIC* 


deadly as it looks, and I have arranged that the 
report shall be lessened for your especial benefit. 
I assure you there will be no necessity for you to 
put your fingers in your ears. None whatever. 

This pistol is only used to blow this silk hand¬ 
kerchief to invisible magical atoms, so fine that 
you cannot see them—and yet the instant they ar¬ 
rive at their destination they join together and 
become visible. You shall see. 

The handkerchief is hung over the barrel—so. 

Keep one eye on the handkerchief and one on 
the destination. 

Bang! 

Did it frighten you ? 

There you see the handkerchief reassembled has 
safely arrived. Truly a Magic Pistol. 

I thank you. 


VIII 


THE DRUMHEAD TARGET 

Magical effects which visibly take place in front 
of the spectators, are always appreciated. This 
is an experiment, involving transposition, where 
the article is seen to arrive at its destination. 

Two hoops are shown by the performer who 
then places a piece of tissue paper between them, 
forming a drumhead. This drumhead is now 
inserted by means of a small plug on the larger 
hoop, into a shaft of an attractive base or stand 
on a small side table. 

A silk handkerchief is hung on the barrel of the 
“Handkerchief Pistol” and at a shot the silk van¬ 
ishes, and is immediately seen to arrive, breaking 
the paper in the middle of the drumhead which 
has been used as a target. Being removed, the 
silk and hoops are offered for inspection. 

Figure 1 shows the appearance of these hoops 
and the stand. The cause for the arrival of the 
silk, being in the shape of a small tin holder on 
the end of a bent rod.. The rod is hinged near the 
top of the shaft, and a small spiral spring causes 
it to fly up, when released. This tin holder has 
four sides which, being pointed, break the paper 

43 


44 


NEW AND ORIGINAL MAGIC 


when it flies up from its hiding place in the base, 
after being released by an electro-magnetic catch. 

Figure 2 is a “close-up” of the shaft and base, 
with cover removed from the base. This shows 
the electric release catch and the two wires “A” 
and “B” which supply the current. These wires 
“plug in” to the table top, connecting up in turn, to 
two other wires, which run down the shaft of the 
table, to a switch on the floor, and off to a dry 
cell (Fig. 3). 

Stepping on the switch closes the circuit. The 
electro-magnet acts on the catch, draws it aside, 
and holder, containing the handkerchief, flies up, 
breaks the paper, and reveals the silk. This 
holder being painted black, and the pointed sides 
bent out a trifle will not be noticed in the jag¬ 
ged opening in the broken drum-head. 

The electric release is used in this effect, instead 
of a simple thread, because the shot and the ar¬ 
rival of the handkerchief must be simultaneous. 
This can onjy be attained when performer has 
direct control over the apparatus causing both the 
appearance and disapperance. A thread could 
not be handled successfully along with the pistol. 
Furthermore electricity used to aid the magician 
can be made entirely dependable, if care is taken 
that all the apparatus be carefully made, and the 
preparation for exhibition be properly arranged. 

In order to prepare this effect, a small side stand 
is provided with two insulated wires running thru 


THE DRUMHEAD TARGET 


45 




VIII 













46 NEW AND ORIGINAL MAGIC 

the shaft down one of the legs to a foot switch, 
placed under a rug or carpet. In the table top 
the ends of the wires are bare of insulation, and 
each is inserted in a tiny hole in the wood of the 
top. Into these holes are pushed respectively the 
wires “A” and “B” which, as may be seen by 
looking at the illustration, are in the base of the 
apparatus. Make sure that each wire is forced 
securely against its corresponding wire in the 
hole. The weight of the base will keep them in 
place. 

From the foot switch the two wires run off to 
a dry cell. Test these connections to see if the 
\ ‘juice’’ is being delivered to the electro-magnet. 

The table being placed in position, and base 
on table top, the holder is pulled down into the 
opening in rear of base and secured there by the 
catch. The silk handkerchief is now stuffed into 
the holder. Step on switch to see if connections 
are true and the catch releases. 

The two hoops, a piece of white tissue paper; 
a pair of scissors, a duplicate of the handkerchief 
in the holder, and the “Handkerchief Pistol” 
are placed on the table. Do not disarrange the 
position of the base. 

And now to perform:—Hoops and tissue are 
exhibited, and drumhead formed cutting off 
surplus with the scissors. By means of the plug 
in the larger hoop (see illustration) the drumhead 
is secured to top of shaft in base. This base used 


THE DRUMHEAD TARGET 


47 


as a holder for the drumhead should be taken for 
granted by the magician, and no special attention 
called to it. 

Picking up pistol and calling attention to the 
silk which is hung over the barrel, performer steps 
away from table, to spot where foot switch is on 
floor. This location should be marked on the rug 
or carpet, so that switch may be located at a glance. 

At the instant of firing, the foot presses on the 
switch, closing the circuit—holder containing the 
handkerchief flies up, breaking the paper, and the 
handkerchief has arrived. 

The conjuror now steps up to table, lays down 
pistol and slowly pulls the handkerchief out of 
paper. The handkerchief is held for an instant, 
to mask the movement of the left hand which 
quickly pulls the now empty holder down into 
its hiding place in the base. The broken drum¬ 
head is removed from the shaft and with the silk 
offered for examination. 

The base is now removed from the table which 
pulls wires “A” and “B” out of holes, leaving the 
table free for the next effect. 

Concisely, the above experiment should be 
handled in the following manner; after seeing that 
electric connections are tight and catch releases, 
when the switch is closed. Test this just before 
exhibition. 

1. Pick up hoops and paper. Form drum¬ 
head, cutting off surplus paper with scissors. 


48 NEW AND ORIGINAL MAGIC 

2. Place drum-head by means of inserting plug 
in end of shaft, on the base. 

3. Show handkerchief and pistol. Hang silk on 
barrel. 

4. Step away from table to switch on floor. 
A quick glance will show marked place. 

5. Fire pistol and step on switch. 

6. Remove handkerchief from drum-head, with 
right hand. Allow it to hang down in front of 
apparatus a moment, while left hand pulls down 
holder into base. 

7. Bring forward hoops and handkerchief. 

PATTER 

While a magician can scarcely refute the charge 
of being guilty of using “sharp practice” for his 
effects, I intend to show you that he is equally 
adept at “sharp shooting.” These two hoops 
with this piece of tissue, are placed together to 
form a sort of drum-head. The drum-head, I 
now place on the pedestal—so. 

In order to prove my aim correct, and that all 
may see that I hit the target in the very center, 
I shall use this red silk for my bullet. 

I hang it on the barrel of the pistol—so. 

Ready—Aim—Fire. 

Bang! 

There you see the handkerchief has arrived with 


THE DRUMHEAD TARGET 49 

a “wallop’’ so to speak, and lodged itself in the 
very middle of the drum-head. 

The apparatus is quite free from trickery. 
Nothing but the broken tissue—very thin you 
see—the two hoops and the pedestal. 

I hope your deductions as to the solution of 
the mystery are not as “sharp” as my shooting. 

I thank you. 


IX 


CANDLE SMOKE 

Performer explains that for his next experi¬ 
ment he will require a handkerchief of the finest 
texture. That the success of the effect lies 
entirely in using a handkerchief of a finer texture 
than a spider’s web, or even gossamer and so 
haying given much study to the problem he has 
discovered a magical way to weave smoke. This 
woven smoke produces the most wonderful texture 
imaginable, and performer offers to demonstrate 
his powers in this line. 

A candle standing on the magic table, is lighted, 
and a piece of paper to wrap it in is exhibited. 
This paper, it is explained, will represent the loom. 
The candle being blown out, it is quickly wrapped 
in the paper, lest most of the smoke escape, and 
the ends twisted ’round. 

A few magical passes, the package is broken in 
half, and a smoke-colored handkerchief of 
thinnest weave is extracted. 

And now, since the candle has been apparently 
broken, it must be restored, so the paper is 
straightened out and then unrolled when the 
candle is seen to be entirely unharmed and un¬ 
marred. It is placed in the candlestick and 

50 


CANDLE SMOKE 


51 




IX 


u. v e 






52 


NEW AND ORIGINAL MAGIC 


relit. Truly a marvelous candle. The woven 
smoke is shown to the audience. 

The secret of this apparently indestructible 
candle lies in the fact that it is made of a piece 
of finest grade white rubber tubing. Figure 3 
shows the details of construction. Division “A” 
shows two metal tubes which fit in either end of 
the rubber tube to give it stability. “B” is a 
small piece of candle to be inserted in one end, 
“C” a wooden plug, painted white, for the 
opposite end, and “D” the completed candle. 

The rubber tube has a small hole in the center, 
which is concealed by tip of forefinger when it is 
exhibited. This hole becomes greatly enlarged as 
the rubber is bent in half (Fig. 4) which allows the 
handkerchief to be easily extracted. The hand¬ 
kerchief is of a smoke-grey crepe-de-chine. 

To prepare the effect the wooden plug is removed 
from the bottom, the handkerchief pushed up into 
the candle, and the plug replaced. The candle 
placed in candlestick on table, together with a 
box of matches and a piece of paper of sufficient 
size to roll around the candle. 

Performer now steps forward and explains his 
intention of utilizing the smoke of the candle, as 
described above, and proceeds to light the candle. 
Hands are now shown innocent of preparation, 
to prove that nothing has been obtained from the 
matchbox, as may be suspected by some of the 
“wise ones*?” 1 The paper is now shown and 

i See Appendix 3. 


CANDLE SMOKE 53 

held in front of the candle flame to prove absence 
of preparation also. 

Blowing out the flame, candle is quickly rolled 
in the paper and the ends twisted ’round. With 
an end of the package thus formed, in each hand 
the magician breaks it in half and the smoke-gray 
handkerchief is revealed, which is removed and 
placed on the table. The package is now smoothed 
out and the paper removed. The rubber candle 
has now reassumed its straight appearance, and 
with the forefinger covering the hole, it is re¬ 
placed in the candlestick, with the opening to the 
rear, and relit. 

The smoke handkerchief (?) is now shown and 
may be utilized in any effect where the performer 
needs a particularly fine grade of handkerchief. 

Summed up, the effect should be shown as 
follows: 

1. Light candle, and show hands empty. 

2. Exhibit paper in front of candle flame. 

3. Pick up candle, wrap in paper, twisting ends. 

4. A few magic passes, break package in half, 
and extract handkerchief. 

5. Smooth out package—unroll and with fore¬ 
finger over hole show candle unharmed. 

6. Place candle in candlestick and light. Step 
forward with handkerchief for inspection. 

PATTER 

For my next experiment I must have a handker- 


54 


NEW AND ORIGINAL MAGIC 


chief of the finest texture. It being impossible to 
buy a handkerchief as fine in weave as I must have, 
by delving into the magic lore of centuries back, I 
have been lucky enough to discover there a secret 
for weaving smoke. 

Woven smoke produces a texture so fine that it 
can hardly be imaginable. 

I use this candle for the smoke. 

I light it. 

You see my hands are free from preparation of 
any kind. This small piece of paper, will repre¬ 
sent the loom, which shall produce the woven 
smoke. 

I blow out the flame, and quickly wrap the 
candle in the paper, for the smoke must be held 
within. Now I twist the ends around. 

After rolling the package in my hands several 
times and repeating the secret formula to myself, 
I break the package in half and the smoke is 
woven. See— 

How fine it is. 

And now to restore the candle. Once more I 
roll it between my palms. . . . 

The candle is unharmed, for another secret 
formula has restored it. 

I relight it and it burns again, quite uncon¬ 
cerned about its recent strange experience. 

And now I have my handkerchief of wonderful 
weave. 

I thank you. 


X 


THE PEDESTAL TOP 

A small pedestal stands on the performer’s 
table. It consists of a base, an upright of about 
nine inches, and a thin board top seven inches 
square. The top is easily removed, for it is merely 
held on the upright by means of inserting the rod 
in a hole in its center. Therefore when the top 
is removed it presents the appearance of a thin 
piece of board, seven inches square, and with a hole 
in the middle. 

The magician pokes his finger through the hole 
to prove that it really is a hole and that the board 
is all that it seems. The top is repeatedly shown 
from both sides, nevertheless, when it is held in one 
hand, the other hand pulls from the opening a silk 
handkerchief. Once more the board is freely 
shown, and even passed to the audience for exam¬ 
ination. Again a handkerchief is produced. 
After similar manipulations a third silk makes 
its appearance. This pedestal top will be found 
quite useful at the beginning of a series of silk 
handkerchief effects, and presents an unique pro¬ 
duction. 

The top is entirely unprepared. The liandker- 

55 


56 NEW AND ORIGINAL MAGIC 

chiefs are concealed in three cartridge-like metal 
tubes, which will just fit over the end of the mid¬ 
dle finger. The handkerchiefs are each stuffed 
into one of these tubes with a tiny piece of one 
corner caught thru a slit made in one end. One 
of these tubes is concealed behind the base of 
the pedestal (“B”). The other two tubes are per¬ 
manently fastened together and are placed under 
the performer’s vest. While the top is being re¬ 
moved from the rod with the left hand the right 
pushes the middle finger into the tube concealed be¬ 
hind the base. Then with the board held as in 
Figure 1 with both hands the tube is concealed un¬ 
der it. By transferring the tube to the middle fin¬ 
ger of the left hand, the right hand may be shown 
empty, and vice versa. This is quite convincing, 
for the movements are very natural. Both sides 
of the board are. then shown, by merely turning the 
board up (Fig. 2). The tube is then hidden by the 
hand for it is only necessary to flex the finger in 
toward the palm to accomplish this. The free¬ 
dom of these movements prevents the audience 
from suspecting anything. 

Now with the board held in the right hand and 
the finger extended the tube will reach to the 
hole. The left hand then approaches and with the 
thumb and forefinger inserted in the hole, the small 
bit of silk that is caught in the slit in the tube 
(Fig. 3) is pulled and the handkerchief is pulled 
from the tube and through the hole. Under cover 


THE PEDESTAL TOP 


57 



X 




















58 


NEW AND ORIGINAL MAGIC 


of putting the handkerchief down on the table the 
tube is dropped in servante or black art well. 1 
While this is being done however the other hand 
is securing the other two tubes, which it will be re¬ 
membered are fastened together and under the 
vest. These two tubes fastened together are ma¬ 
nipulated exactly the same as the first tube, and 
the two handkerchiefs they contain produced in 
the same way as the first. 

With sufficient practice before a mirror the 
movements as described above blend perfectly and 
a very easy-going effect is produced. 

After loading the tubes with handkerchiefs and 
placing, one in the clip behind the base of the ped¬ 
estal, and the others under the vest, proceed as fol¬ 
lows :— 

1. Remove top from pedestal with left hand as 
right inserts middle finger in end of tube at base. 
Show top. 

2. Hold top in both hands. Switch tube to left 
hand middle finger, and show right hand empty. 
Switch tube back again to right hand and show 
left empty. 

3. Show both sides of top, concealing tube by 
flexing finger according to position of board (Fig. 
1 - 2 ). 

4. Produce handkerchief thru hole. Place 
handkerchief on table, with left hand as right se¬ 
cures the two tubes from vest. 


i See Appendix 4. 


THE PEDESTAL TOP 


59 


5. Produce the other two handkerchiefs as 
above. 

6. Bring top and handkerchiefs forward for in¬ 
spection. 


PATTER 

I should like to call your attention to this at¬ 
tractive little pedestal. It is a very peculiar ped¬ 
estal though I will admit it does not look particu¬ 
larly so. It is not only useful for putting objects 
on, but for getting objects from . 

What do I mean? Allow me to show you. 

You see the top is removable. Then you will 
notice that the board which formed the top has a 
hole in the center, w T here the shaft secured it. 
Naturally. There is nothing whatever in the hole. 
Strange is it not ? I show you my right hand free 
from suspicion—as is my left, and the board is 
nothing more than it seems. I show you both 
sides. Now watch the hole and we will see what 
we can get from it. There you see, a beautiful 
red silk handkerchief. Red, that is a good starter. 
Once more I show you that my hands conceal 
nothing, and the board is innocent of any suspi¬ 
cions you may have cast its way. 

Again a handkerchief. This time white. 

If the pessimist who could only see the hole in 
the doughnut, could see the hole in this board 
he would soon be an optimist. 


60 


NEW AND ORIGINAL MAGIC 


Here we are again. A beautiful blue silk 
handkerchief this time to go with the red and 
the white. 

The board you may take in your own hands 
and examine, and my hands contain nothing but 
• these beautiful silks, red, white and blue. 

I thank you. 


XI 


THE AUTOMATIC RELEASE 

It is frequently necessary, in conjuring, for a 
slight pull on a thread, to set off, or start a 
mechanical piece of apparatus. The operation 
of this mechanism, often times must be simultane¬ 
ous, with a word of command, or a pistol shot. 

Usually this thread pulling has been placed in 
the hands of the performer’s trusty assistant, 
who naturally waits until he hears the word or 
the shot, before pulling the thread, and there¬ 
fore the action of the mechanism may be a bit 
late at times and the effect of the experiment 
spoiled. 

The “Automatic Release” has been designed to 
do away with the assistant, by means of the drop¬ 
ping of a small signal or semaphore on a concealed 
piece of mechanism placed behind a table; so the 
performer may ascertain the exact moment of the 
pulling of the thread and the word of command 
or pistol shot may be gauged accordingly. 

This thread-pulling mechanism is operated by 
clockwork secured to a small wooden base. At one 
end is attached a geared shaft, on the end of which 

the signal or semaphore (Fig. 2) may be attached 
61 


62 


NEW AND ORIGINAL MAGIC 


or detached at will. Directly below this shaft is 
a pivoted arm of peculiar shape, which hooks under 
a metal catch, and holds down the light metal bar, 
to which is fastened the thread. This bar is hinged 
at one end on the wooden base. An elastic band 
attached to an upright tends to pull the bar up. 

Now when the semaphore or signal is placed 
on the end of the geared shaft, and the clockwork 
started, the weighted portion at the end slowly 
revolves, and drops down, coming nearer and 
nearer to the release catch. When it hits the 
catch, the rod is released and by the action of the 
elastic band, is snapped upright, thus pulling the 
thread. 

This light rod is capable of giving quite a 
“yank” to the thread, and is absolutely noiseless, 
inasmuch as it is free to oscillate. This would not 
be the case if a spring hinge were used instead of 
the elastic. The ticking of the clockwork is not 
heard at a short distance. 

By means of the semaphore, or signal, the 
performer can see, the exact instant the rod will 
be released and the thread pulled. 

Figure 1 shows the mechanism, with the rod 
held down by the catch, and the semaphore in 
place on the small geared shaft of the clockwork. 
Fig. 3 shows, how the semaphore pushes aside the 
catch and releases the rod, which pulls the thread. 
Fig. 4 is a plan of the manner of using the 
Automatic Release. “A” represents the mech- 


THE AUTOMATIC RELEASE 


63 



XI 











64 NEW AND ORIGINAL MAGIC 

anism, on the servante 1 of a table; “B” the 
thread, which runs over to the other table and is 
attached to “C” the apparatus to be operated. 

As performer steps over to the table, which 
conceals the mechanism, he picks up a pistol with 
the left hand, and the right hand gives the escape¬ 
ment wheel of the clockwork a slight start. (The 
escapement wheel is at the top of the clockwork). 
This sets the clockwork in motion and the sema¬ 
phore starts to move slowly downward. 

The performer now walks over to the spot 
marked “X” on the diagram, aims pistol, and 
watches the semaphore move down. Though it 
is small, it can be easily seen, as it is painted 
white. The instant that it touches the catch, the 
pistol is fired, and so the pulling of the thread is 
simultaneous with the shot. 

It takes about 15 seconds for the semaphore to 
drop, which gives ample time for the magician 
to step away and take aim. However there is no 
necessity to count off the seconds, as the exact 
moment of the semaphore, touching the catch, can 
be seen . 

The plan shown in the illustration is only one 
of many ways in which this piece of mechanism 
may be used. 

It can be placed off stage if required, as a long 
thread does not impair its efficiency. Or it may 
be placed on the same table as the apparatus to 

i See Apendix 5. 


THE AUTOMATIC RELEASE 65 

be operated, being on the servante or hidden be¬ 
hind some piece of magical apparatus. 

In using the mechanism the following should 
be remembered: 

1. Wind up the clockwork and attach the 
thread to the end of the rod. 

2. Stop the escapement wheel and place the 
semaphore in an upright position, on the geared 
rod. Place on Servante. 

3. Run the thread to the apparatus to be oper¬ 
ated and attach. 

4. By moving either table slightly away, any 
slack in the thread is taken up. The thread 
should be just taut, for the best results. 

The Automatic Release is quite useful in such 
effects as the Coin Jar, 1 etc., and the next experi¬ 
ment described will show how it may be used in 
an original effect entitledWith Four Coins.’’ 

i See Appendix 6. 


XII 


WITH FOUR COINS 

Coin effects, as a rule, can not be appreciated, 
unless the performer is close to the audience, and 
then only to a relatively small number of people. 
Experiments with coins, which can be seen and 
appreciated by a large audience are few, inasmuch 
as they depend to a great extent on the spectators 
hearing them jingle into some receptacle. Effects 
such as these are well received, because the coins 
can be heard to arrive, and the eyesight of the 
spectators is not strained watching intricate 
manipulations. 

On a small tabouret, there is a stand, consisting 
of a wooden upright, 12 inches high, which rises 
from a wooden base 8 inches square. 

A derby hat is borrowed and is then hung, 
mouth up, on the top of the upright, by means of 
clipping the brim over the edge. (Fig. 1). 

The magician now states that he will cause four 
coins to fly from his hand, travel invisibly thru the 
air, and fall into the hat. But, in order to con¬ 
vince the spectators, that the coins really do fly 
thru the air, he will cause them to become visible 
at the instant they arrive over the mouth of the 
hat, so they may be seen to drop in. 

66 


WITH FOUR COINS 


67 



XII 



6 > 


































68 


NEW AND ORIGINAL MAGIC 


Four half dollars, are now shown, and stepping 
away from the hat the magician cries “Go!” and 
the four coins vanish, as he throws his hand 
toward the hat. Instantly a jingle is heard; the 
coins are seen for the fraction of a second, poised 
over the mouth of the hat, and then with a merry 
little jingle of silver they tumble in. 

The hat is detached from the upright, the coins 
poured out and offered for inspection. The stand 
is picked up and shown from all sides. 

The explanation of this effective experiment 
lies in the upright rod of the stand, which is not 
so innocent as it seems. Fig. 2 shows the mech¬ 
anism, concealed in the top. “A” is a metal arm 
5" long, pivoted in the wood, so that it will swing 
easily up and down. “B” is a holder just large 
enough to contain four half dollars, “C” is a spiral 
spring, which acts on the arm “A” causing it to 
swing up to an horizontal position. “ F ’ 9 a right- 
angled “stop” to prevent the arm from going up 
too far. 

When the arm “A” is pulled down into the 
opening cut into the rear of the wooden upright, 
it is retained there, against the tension of the 
spring, by the small lever “D.” To this lever is 
attached a thread “E.” Pulling “D” aside 
releases the arm, which then flies up. 

To prepare the apparatus, iflace it on the tabou¬ 
ret, pull down the arm “A” and secure it with the 
lever “D.” Bun the thread to the “Automatic 


WITH FOUR COINS 


69 


Release ’ ’ placed on servante of table. On the table 
put the hat and four half dollars. Four duplicate 
half dollars are stacked and carefully placed in 
the holder “B,” behind the upright. See that 
thread is taut. 

The magician now borrows the derby hat and 
clips the edge of the brim over the top of the 
upright. Care should be taken that the coins in 
the holder are not dislodged, and a good plan is 
to press the little finger of the right hand against 
them, as the hat is being put in place. 

The spectators are now told how the coins 
are to fly thru the air into the hat, as explained 
above. Then going over to the table the performer 
picks up the four duplicate coins with one hand, 
while the other hand starts the “ Automatic Re¬ 
lease.” With the coins in the left hand, they are 
apparently transferred to the right, but in reality 
are palmed 1 in the left. The right hand is then 
closed, as if holding the coins, and poised ready 
to throw. Now watch the “Semaphore” of the 
“ Automatic Release” as it drops, and the instant it 
touches the catch, cry “GO,” and throw out arm 
in the direction of the hat; showing palm empty. 

The moment the coins are heard to arrive in 
the hat, profit by the misdirection of the spectators 
and slip the duplicate coins into the vest pocket, 
which it will be remembered were palmed in the 
left hand. 


i See Appendix 7. 


70 


NEW AND ORIGINAL MAGIC 


As the hat is removed from the upright, by the 
left hand, the right hand pulls down the metal arm 
behind the upright again and it is secured there. 
The coins are poured out and offered with the 
hat for inspection. 

The right hand picks up the upright, covering 
the mechanism in the rear by the hand and wrist, 
as it is carelessly shown. The thread may then 
be snapped and the apparatus placed to one side. 

In constructing the mechanical part of the 
upright, considerable experimenting will be nec¬ 
essary in order that the four coins be accurately 
thrown so that they will fall into the hat. The 
strength of the spring and the position of the right- 
angled stop “F,” adjusted in regard to the weight 
of the coins, will determine the proper speed, and 
“arc” or “throw” of the coin holder “B.” 

The upward throw of the coins is not noticed 
from the front because, by the time the “jingle” 
is heard, the coins are apparently poised for the 
fraction of a second over the mouth of the hat. 
They actually appear to become visible only at 
the instant they drop into the hat. 

“Analysis of Presentation”: After apparatus 
has been “loaded” and “set” with the “Automatic 
Release” as has been described:— 

1. Borrow hat. Explain the flight of the four 
coins. Place hat on upright. (Prevent coins 
from falling out of holder with little finger of right 
hand.) 


WITH FOUR COINS 


71 


2. Pick up coins from table, in left hand. Start 
“Automatic Release” with right. (A slight touch 
of the escapement wheel.) 

3. Fake passing of coins into right hand. 
Watch “Semaphore.” When it drops cry “Go!” 
Throw out hand. 

4. Press metal arm down behind upright, as hat 
is removed. Show coins and hat. 

5. Cover mechanism in upright by right hand 
and wrist as it is shown, snap thread and place 
stand aside. 


PATTER 

Time flies and so does money. In fact money 
seems to go much faster than time. In case you 
doubt that, I shall demonstrate to you just how 
fast money can travel. 

I should like to borrow a derby hat. 

Yes, sir, I will guarantee to put some money in 
it. 

How long it remains is another matter. It 
probably will fly out before I can return the hat 
to you. 

Thank you, sir. 

The hat I clip by the rim on this upright. 

These four half dollars I shall cause to travel 
thru the air invisibly to the hat. However they 
will become visible the moment they arrive there 
so that you all can plainly see them drop in. 


72 


NEW AND OBIGINAL MAGIC 


I shall now step as far away from the hat as 
possible. 

I have the coins. See? 

Watch! 

One-two-three-four- Go! 

There. 

Did you see them fall in? You did? Very 
good. 

You see I pour the coins from the hat so. They 
were really there. 

I return the hat to you, sir. It is quite un¬ 
harmed ? 

I thank you. 


XIII 


PROHIBITION 

44 Prohibition ” deals with a subject which has 
been much in the public mind, and the following 
experiment shows how the 44 kick” may be magic¬ 
ally taken out of the wine if the Oovernment so 
desires. 

An attractive folding stand, on which is placed 
a tray of the breakfast variety, is brought for¬ 
ward. On the tray are, a bottle of wine(?) 
placed on a neat little stand, a pack of cards, a 
large cotton handkerchief, and a clear glass 
goblet. 

After cleaning the goblet with the handkerchief, 
and filling it with a red wine( ?) or liquid from the 
bottle, Performer states he will now show how 
easy it is to take the 44 kick” out and leave the 
liquid in a state of H 2 O. 

The goblet being filled, it is placed on the small 
stand and covered with the handkerchief. This 
isolates it from the tray and yet it is all the time 
visible to the audience, thru the folds of the hand¬ 
kerchief. A pack of cards is shuffled, squared 
up, and placed on top of the handkerchief and 
goblet. 


73 


74 


NEW AND ORIGINAL MAGIC 


Showing both hands unprepared, the conjuror 
proceeds to extract the wine from the goblet, thru 
the folds of the handkerchief and the pack of 
cards. Slowly and surely with the thumb and 
forefinger this is done, in the shape of a red silk, 
handkerchief which is pulled direct from the cen¬ 
ter of the pack. 

Uncovering the goblet it now contains pure 
water, which may be drunk to prove the absence 
of chemicals. 

A study of the illustrations will show clearly 
the construction and use of the apparatus in¬ 
volved. Fig. 1 shows the bottle. This has a 
receptacle to hold the wine in the upper part, and 
the lower part is empty without a bottom, so that 
a goblet may be concealed within. The audience 
is of course aware of only one goblet. 

One half of the pack of cards is glued together 
and cut out in the middle to contain the red silk, 
which is inserted thru the hole of the part marked 
“A” (Fig. 2). To a corner of the red silk is at¬ 
tached a small plug, which just fits the hole in 
“A” and allows the silk to be easily extracted and 
also filling up the hole. The rest of the pack, un¬ 
prepared, is placed on top of this “faked’’ half. 

On the back of the tray is attached a water-tight 
servante sufficient to hold the goblet and liquid. 

A little stand, a cotton handkerchief and two 
goblets (exactly alike) complete the requirements. 

To prepare the experiment proceed as follows: 


PROHIBITION 


75 




XIII 



























76 


NEW AND ORIGINAL MAGIC 


Fill the upper compartment of bottle with a red 
wine or liquid and one of the goblets with water. 
The water-filled goblet is placed on the little stand, 
and over it the bottle. 

The red silk is pushed thru the opening into the 
“faked” half of the pack of cards, the plug filling 
up the opening. This is placed on the tray to¬ 
gether with the other goblet,—empty,—and a large 
cotton handkerchief. 

The servante is attached by means of hooks to 
rear of tray. Tray is placed on folding stand and 
all is ready. 

Performer now states he will demonstrate the 
manner of taking the “kick” out of alcoholic bev¬ 
erages by the Magical Method. 

Showing the goblet and wiping it with the hand¬ 
kerchief, it is placed in the left hand, and the base 
is clutched thru the folds of the handkerchief, al¬ 
lowing much of the handkerchief to hang down. 
This is carefully held in front of the bottle, as it is 
lifted from the small stand, so as to hide the gob¬ 
let of water which w r as concealed under the bot¬ 
tle. (Fig. 3). After pouring the wine into the 
goblet held in the left hand, bottle is placed down 
on tray. 

Now for the movement which will require re¬ 
peated trials before a mirror in order to acquire 
naturalness. 

The wine-filled goblet is taken in the right hand 


PROHIBITION 


77 


and lowered behind handkerchief, apparently to 
place it on the little stand, but in reality to lower 
it, as the liquid is poured out, into the servante. 
Simultaneously the handkerchief is lowered and 
placed over the water-filled goblet, which it will be 
remembered is on the small stand. This “switch’’ 
of goblets is indetectable if care is taken to hold 
the handkerchief in such a way, as to effectually 
mask the movement of the right hand as it lowers 
the wine-filled goblet into the servante. At this 
point do not hurry. After a few trials this move¬ 
ment of apparently placing the goblet on the stand 
will not create suspicion, inasmuch as the hand¬ 
kerchief is placed right over the goblet already on 
the stand. As soon as this goblet is covered, it 
should be picked up and the handkerchief twisted 
around it, to show that the handkerchief has not 
been merely placed over a “form.” 1 This will 
create confidence that all is as it should be. How¬ 
ever do not call attention verbally to this fact. 

Pick up the pack of cards, the loose cards being 
carelessly shuffled over the “faked” half, squared 
up and put on top of the goblet so that “faked” 
part of pack is uppermost. 

Slowly showing hands empty, with thumb and 
forefinger, the plug is removed, and the red silk 
pulled with quick little jerks out of pack. Lay 
this on tray, cards are now picked up, fanned, and 

i See Appendix 8A. 


78 


NEW AND ORIGINAL MAGIC 


also placed on tray, and the goblet still covered 
with handkerchief is brought forward, uncovered 
and water offered to spectator to drink. 

The manipulation of the apparatus for this ef¬ 
fect, after all has been prepared as described 
above, may be summed up as follows: 

1. Clean goblet with handkerchief and hold by 
base thru folds of handkerchief, in left hand in 
front of the bottle on stand. 

2. Carefully lift bottle off of the stand and the 
concealed water-filled goblet. Fill goblet in hand 
with wine. 

3. Take wine-filled goblet in right hand, care¬ 
fully pour liquid and lower into servante as hand¬ 
kerchief is placed over goblet on stand, masking 
movement of right hand. 

4. Arrange handkerchief over goblet to allow 
spectators to see it actually covers goblet and no 
“form.” This is important. 

5. Shuffle pack. Place handkerchief covered 
goblet, with faked portion of pack uppermost. 

6. Pull out plug and red silk slowly. 

7. Remove the pack. Bring forward the goblet. 
Remove the handkerchief and offer the water to 
spectators. 

The dimensions of the apparatus as constructed 
are as follows: Bottle 13 inches high, 3 1 / 4z diameter. 
Interior covered with black velvet to prevent 
“talking,” when the bottle is lifted off goblet. 

Goblets—4 y 2 inches high. 2 y 2 inches diameter 


PROHIBITION 


79 


Small stand—6 y 2 inches high by 5 inches square. 
Top covered with black velvet. 

Red silk 12 inches square. 

Tray 18 inches by 11 inches. Height of back 
3 y 2 inches. 

Servante—7 inches long, 2 y 2 inches deep. Rub¬ 
ber lined. 

Cotton handkerchief 18 inches square. 

Folding stand may be of height most convenient 
to performer. Preferably low, in order not to re¬ 
quire too much movement of right hand as it low¬ 
ers goblet into the servante. 

PATTER 

To ask how I secured the bottle of wine you see 
so nonchalantly standing on this little stand, 
would be delving too far into the secrets of the 
Magic World, and so I must request that you be 
content with observing the fact that it is here. 
If the Government could invoke Magic aid in en¬ 
forcing the Volstead Act, the -lot of the home 
brewer would indeed be hard. 

I shall demonstrate how easy it is to take the 
kick out of this wine for instance and leave the 
liquid in the state of H 2 O. 

What is that, Sir ? 

You would rather I would reverse the process'? 

Ah, that is a secret that I reserve for my private 
seances. 


80 


NEW AND ORIGINAL MAGIC 


But to proceed. 

I fill this goblet with the wine. Notice its clear 
red tone. You envy me? 

Now let this glass of wine represent all the al¬ 
coholic beverages in the country, and we will im¬ 
personate the Government for a moment, and ex¬ 
tract the kick. 

I cover the goblet with the handkerchief, so, 
and place it on this little stand. This pack of 
cards, I square up and place on top of the hand¬ 
kerchief and the goblet. 

My hands are free from suspicion. 

You see, I slowly extract the red kick. Slowly 
but surely. There in the form of this red silk, 
is the wine. 

And here under the handkerchief, is pure Aqua 
Pura. 

Oh no, Sir. I drink the water to prove that 
no chemicals at all are used in the experiment. 

Shall we hope that the Government never learns 
that one? 

Very well. 

I thank you. 


XIV 


THE FLOWER CAGE 

An attractive green and white bird cage 
naturally creates the expectation of an appearance 
of the yellow songsters, but in this case the per¬ 
former turns the tables on the spectators by pro¬ 
ducing, instead, flowers of every hue. 

The cage is of wire and there are no perches, 
tubs, etc., inside. The bottom of the cage is en¬ 
tirely of clear glass. It is held by one hand only 
and well away from the body, so that every part 
of the cage is visible, with apparently no possible 
place to conceal anything. Nevertheless, at the 
word of command, the cage instantaneously be¬ 
comes filled with flowers. 

The flowers used in this cage are of the paper 
and watch spring type, which compress into a 
very small space, and may be obtained from any 
magical dealer. 

At the right rear corner of the cage, there is a 
compartment just large enough to hold about 
forty of these flowers, compressed. The front is a 
door, hinged at the bottom, with fake bars fastened 
to the front, and the space between the bars, 
painted in imitation of the palm of the hand. The 
si 


82 


NEW AND ORIGINAL MAGIC 


top of this compartment is open. In Fig. 3 
of the illustration “B” is the door, “A” the 
compartment for the flowers, “D” where the 
catch is pressed by the forefinger to release, “C” 
the catch to hold the door up. 

Now with the door up in position, and the hand 
holding the cage as shown in Fig. 1, at a short 
distance the compartment blends perfectly into 
the hand, and the cage appears absolutely empty. 

To prepare the cage for presentation the door 
is secured in the upright position by the catch. 
The flowers are folded and forced down thru the 
top of the compartment. Then the cage is placed 
on a table or chair, with a handkerchief thrown 
over the side to hide the corner where the flowers 
are concealed. 

In showing the “Flower Cage” it is picked up 
in the right hand, so that the thumb grasps the 
corner, and the palm is directly back of the com¬ 
partment, as shown in the illustration. 

The handkerchief is used to clean the glass 
bottom, and is then thrown to one side. 

With a misdirecting glance, in order to get the 
eyes of the audience off the cage for a second, it 
is given a slight push forward, and the catch re¬ 
leased by the forefinger. The pressure of the 
flowers forces the door open, and they flood into 
the cage. 

The cage may now be safely held by the ring 


THE FLOWER CAGE 


83 

















































































































84 


NEW AND ORIGINAL MAGIC 


at the top and exhibited, if care is taken that the 
back is not shown. 

As an interlude in a magical performance this 
cage presents a surprising and pretty effect. 

The tone and shading of the front of the door 
of the compartment, in order to resemble the palm 
of the hand, should be carefully done, so that it 
blends absolutely with the rest of the hand. 

The illustrations show the details of construction 
of this “bird cage to captivate flowers.” 

PATTER 

This especially constructed cage. May I ask 
that you notice how attractive it is, with its green 
and white bars and the bottom entirely made of 
clear glass 

This is not a cage of a bird. 

But rather a bird of a cage. 

Why? 

I shall show you! 

Flowers of every hue. 

This yellow one is a beauty, and this red one 
is exquisite. 

The whole cage is a riot of color. 

The flowers that bloom in the cage. Tra La. 

I thank you. 


XV 

A BORROWED RING 


A finger ring means more to us than anything 
we wear. It is most often a symbol of love or 
friendship and our attachment for it increases 
year by year. It is the only permanent article 
we wear. Being oft times handed down from 
generation to generation, a ring may have quite 
a history connected with it. 

If that inherited ring of ours could but talk, 
what intimate hopes, desires and accomplishments 
it could tell of? Volumes could be written on 
“A Ring.” Truly a word to conjure with. Also 
an article to conjure with. Therefore this experi¬ 
ment. 

The conjuror steps forward with a small plush 
ring box, and requests the loan of a ring. A 
kindly disposed member of the audience offers one, 
and it is placed in the small box. The performer 
now puts the box on a small sleight-of-hand table. 

A small ornamental picture-frame on a base, 
is' shown. It contains no glass. Only a back- 
board, covered with black velvet. 

The ring is now ordered to fly from the plush 
box. A few magic words—the frame is given a 

85 


86 


NEW AND ORIGINAL MAGIC 


flourish, and the ring is seen to appear in the frame, 
securely attached to the centre by a small hook. 
The frame is handed to the owner of the ring to 
remove and identify his property, and finally the 
plush box is shown empty and free from trickery. 

This effect depends on the use of a mechanical 
picture frame. A frame 3 inches by 4% inches 
is of sufficient size. In Figure 2 of the illustration 
its construction is shown. The board is pivoted 
on two pins in the centre. On one side of this 
board is glued a strip of black velvet, which ex¬ 
tends over one end and winds around a small 
spring roller, concealed in the hollow base. Thus, 
it will be seen, when the board is given a half turn 
backwards, the surplus velvet is pulled from the 
base (the roller unwinding) and covers the back 
of the board. This side now appears as the velvet 
covered “front” of the board. The lock pin is 
pushed in to hold the board in position. 

When the lock pin is pulled out the spring roller 
quickly winds up the velvet pulling it into the base. 
This of course causes the board to revolve, and 
as quick as a flash reveals the snap hook on which 
the ring is clipped. Inasmuch as the rear of the 
back-board is not covered with velvet, the revolv¬ 
ing aspect will not be suspected, and it cannot be 
seen, for the board turns too rapidly for the eye 
to follow as the frame is given a slight flourish. 
The lock pin is once more pushed in securely pre- 


A BORROWED RING 


87 



XV 

























88 


NEW AND ORIGINAL MAGIC 


venting the board from moving, and the frame 
may be safely given for examination. 

There are two plush boxes, exactly alike. These 
are marked “A” and “B” in Figure 4. 

To prepare the frame for presentation, pull 
out the lock pin and give the board a half turn 
backward. This pulls out the velvet from the base 
(unwinding the roller) so that the rear of the 
board, which is now at the front is covered by the 
velvet. Place the frame off stage, or behind some 
larger piece of apparatus on table. 

Performer now brings forward ring box “A” 
held in right hand. “B” is palmed in left hand. 
A ring is borrowed, placed in the box, and in the 
act of turning to show small table unprepared. 
“A” is apparently placed in left hand, but in 
reality palmed in right hand, U B” is now being 
shown in left hand as “A.” Right hand with “A” 
still palmed, tilts up the table to show it unpre¬ 
pared (Figure 5). This showing of the table 
creates a slight diversion, and prevents the au¬ 
dience from questioning any manipulation of the 
ring box. 

Box “B” is placed on the table as the magician 
goes to get the frame, carrying box “ A ’ ’ with him. 
Box “A” is quickly opened, the ring taken out 
and hooked on the frame. The frame is brought 
out taking care to prevent the spectators from 
seeing the rear where the ring is clipped. “A” 
is disposed of when ring is fastened to frame). 


A BORROWED RING 


89 


As the frame is shown the lock pin is pulled out 
by the forefinger while thumb in the rear prevents 
the board from turning until the word of command. 
Ring is commanded to pass from box on the table 
to the board which snaps around, and the ring has 
arrived. 

Secretly pushing in the lock pin again, the frame 
is handed to the kind spectator who loaned the 
ring. The plush box is now picked up from the 
table, and also offered for examination. 

After preparing the frame, as described and 
placing it behind some piece of apparatus, on table 
or off stage, proceed to present the experiment 
as follows 

1. Step forward showing ring box “A” in 
right hand, box “B” palmed in left. 

2. Borrow ring have it placed in box. “Switch” 
boxes. Show table top, with right hand holding 
box “A” containing ring. 

3. The empty box “B” placed on table. 

4 Turn to get frame, take out ring from box 
“A” snap on the hook of frame. Drop box “A.” 
Bring forward frame. 

5. Pull out lock pin. Hold board with thumb 
to prevent it revolving until wanted. 

6. Command ring to pass. Release thumb. 
Ring appears. Push in lock pin. Hand frame to 
owner of ring. 

7. Show°box on table empty. 


90 


NEW AND ORIGINAL MAGIC 


PATTER 

The magician who borrows is almost as bad as 
the neighbor who just runs in for your lawn mower 
or a half a pound of butter. 

But if I guarantee not to smash the ring I am 
about to use, will some one help the performance 
along by allowing me to use their ring in my next 
effect ? 

Thank you, Madam. 

I shall show you that a Magician can be as good 
as his word, though not as his actions. 

What an attractive ring. How well it looks in 
this little plush ring box. I close the lid, so— 
slowly, that you may see it is not removed by trick¬ 
ery. 

The box I place on this small table, in full view. 

And now for my Magic Frame. It contains no 
glass—just the back-board covered with black 
velvet. 

By a few cabalistic passes the ring dissolves 
into ether, and at this moment it is floating 
through space. 

There it is now! 

Take the frame in your own hands, Madam. 
That is your ring? 

The box you see is empty. 

Have I lived up to my word? 

I thank you. 


XVI 


THE CHEST OF CHU CHIN CHOW 

This is an effect particularly adapted to an 
Oriental manner of presentation. With a whiff 
of incense and an accompaniment of Oriental 
music it will call to the mind the mysteries of the 
Far East. 

A box six inches square is seen on a tray, which 
is resting on a small folding stand. A hand¬ 
kerchief of Chinese design hangs over the front 
of the tray as a drapery. 

The front of the box, or chest is constructed 
with four openings, one inch wide, extending from 
top to bottom, and backed up with glass, so that 
the interior of the box may be seen at all times. 

A paper bag of rice is shown, and the rice poured 
into the chest. The rice is seen rising in the box, 
through the openings in front, as the bag is 
emptied. The stand, tray and chest are all moved 
to one side and the performer picks up the chest 
from the tray, advancing with it in his hands. 
The rice still visible thru the glass. 

The crash of a cymbal! And thru the glass, the 
rice is seen to have vanished. The box is shown 

91 


92 


NEW AND ORIGINAL MAGIC 


empty. The tray is.now picked up from the stand, 
and tucked under the arm, the handkerchief shaken 
out, and the stand folded. Truly the rice has 
vanished. 

The box or chest is made of wood, six inches 
square, with a sliding bottom, which may be opened 
or closed at will. The front slats or bars are 
made of metal, and backed up with two pieces of 
glass, with of an inch space between each piece. 
A fake is inserted in this space. It is of thin 
wood, and composed of four slats or bars of an 
equal width, as the ones on the front of the chest. 
On the slats of this fake are glued grains of rice, 
and the fake placed between the two pieces of 
glass in such a manner as to slide easily from 
right to left. 

When this fake is moved by means of the pin at 
the top (Figure 3) to the right, each slat is con¬ 
cealed behind a metal slat of the front. Thus the 
spaces are unobstructed, and the box is seen to be 
empty. But pushing it to the left, allows the 
glued-on rice to become visible, and the box appears 
filled with rice. 

By tilting the box to the left, the fake slides 
behind the front bars, and the rice apparently 
vanishes. A study of Figure 2 will show how this 
operates. 

The tray has a sliding trap, operated by a metal 
arm on the under side. The upper side is covered 
with black velvet, to mask the trap. A black cloth 


THE CHEST OF CHU CHIN CHOW 


93 




XVI 





































































94 NEW AND ORIGINAL MAGIC 

bag is sewn around the underside of this trap, to 
receive the rice, as it falls from the box. 

The handkerchief which masks the cloth bag is 
hung on two small hooks at the two front corners 
of the tray. 

In preparing this effect proceed as follows:— 
The trap in the bottom of the chest is opened, and 
the chest placed directly over the trap in the tray. 
The tray trap is however closed. The fake slide 
in the front of the chest is pushed to the right and 
so, thru the opening in the front, the chest may 
be seen to be empty. 

To perform:—Show the bag of rice and pour it 
into the chest, within an inch or so of the top. 
Now cross in front of the chest, in order to place 
the empty bag down, and as this is done, push the 
fake over to the left, with the fingers of the right 
hand. This change will not be noticed, as the 
front appears exactly as it was before. , The glued 
rice on the fake, seen thru the glass looks exactly 
like the real rice in the box. 

Now with the left hand, apparently smooth 
down the top of the rice, and at the same time 
pull out the rod which opens up the trap in the 
tray, and the rice falls into the bag. A little cres¬ 
cendo music will cover any noise of the rice fall¬ 
ing. 

Pick up the tray and stand and hold in front of 
the body, and as it is placed to one side, push the 
body against the protruding bar which will close 


THE CHEST OF CHU CHIN CHOW 


95 


the trap in,the tray. Now take the box with the 
left hand at the front, and the right hand at the 
back, and carefully lift it off the tray slowly, and 
as this is done close the sliding trap in the bottom 
of the chest, with the fingers of the right hand. 
Still holding it carefully advance to the audience, 
give the prearranged signal for the cymbal to crash, 
and as it does, tilt the box to the right, and show 
it empty. Thus the rice is seen to vanish thru the 
glass, and then the inside is shown empty. 

Approach the tray and pick it up, show the top 
and tuck it under the arm, taking care that the 
audience shall not get a glimpse of the bag con¬ 
taining the rice on the underside. Detach the 
handkerchief from the tray, shake it out, and fold 
up the stand, to show how completely the rice has 
vanished. 

The success of this experiment depends to a 
great extent on the apparatus being accurately 
constructed, and so a few points to make sure of 
follow:— The sliding trap in the tray must fit 
absolutely tight, and yet be easily moved by the 
rod in the rear. The piece under which the trap 
slides (to the rear of the tray) must fit tight, so as 
to sweep every grain of rice off of the trap as it 
slides back. It will be remembered that the rice 
is poured directly on this trap, as it is poured into 
the box, and so it will be seen that there must be 
no rice on the tray after the box has been removed. 
The only way that this can be attained is for all 


96 


NEW AND ORIGINAL MAGIC 


the rice to be swept off of the trap as it slides back. 
Nevertheless it is well to allow some of the rice 
carelessly to fall on the tray as it is poured from 
the bag into the box. With care taken in the con¬ 
struction of this apparatus, the ease of manipu¬ 
lation will be greatly enhanced. 

Preparation : Open trap in box. Close trap in 
tray. Box put over trap on tray. 

Analysis of Manipulation: 

1. Pour in rice. 

2. Step in front of box to place paper bag 
down. Move slide to left. 

3. Smooth rice level with left hand. Open trap 
with right hand. Music to cover noise of falling 
rice. 

4. Pick up tray and stand and move to one 
side. Close trap by pushing rod against body. 

5. Carefully pick up box. Left hand in front, 
right hand in back. Close trap in bottom of box 
with fingers of right hand. 

6. Crash of cymbal. Tilt box to right. Show 
empty. 

7. Pick up tray and handkerchief, taking 
care that cloth bag is not seen. Fold up stand, 
carry off. 


PATTER 

In the Chinese town of Ichang there lived many 
years ago an old Mandarin by the name of Chu 


THE CHEST OF CHU CHIN CHOW 97 

Chin Chow who was a canny old fellow. His an¬ 
cestors had practiced the Magic Arts, and had 
handed down from generation to generation their 
carefully guarded secrets. The old Mandarin was 
troubled by a servant boy who would continually 
steal his choicest rice, and the clever fellow could 
not be caught. 

Old Chu, the Mandarin, determined to lay a 
magical trap for the boy. 

He filled a box to the brim with rice. Like 
this. Then he hid and waited. The boy thinking 
old Chu was asleep, crept to the box, and picked 
it up. Like this. He was just about to run with 
it, when the furious Chu sprang from hiding, 
waved his arms at the box, and cried 4 i Zong Bong, 
Gong!” A cymbal crashed and— 

The rice had vanished. 

The boy protested that he was cured of stealing 
any more rice. But old Chu said unless he found 
it again he should be beheaded. 

The boy looked everywhere. The box was 
turned upside down. There was no rice on the 
floor. The tray was picked up, the drapery shaken 
out, and the stand collapsed. The rice had gone. 
And because he could not find it the wicked old 
Chu had the boy beheaded. And that is the story 
of Chu Chin Chow. 

I thank you. 


XYII 


BLANC ET ROUGE 

A large frame, attractively decorated in black 
and gold is seen standing on a tray supported by 
a small crosslegged stand. A door binges down, 
at the back of the frame and allows a clear view 
through the glass. 

A tin tray ten inches square and one-half inch 
deep is exhibited, and with it twenty-five wooden 
blocks, all the same size, i. e., two inches square 
and one-half inch thick. Twenty of these blocks 
are painted white and the remaining five are 
painted red. 

The blocks are placed in the tray, with the red 
ones arranged in a haphazard manner, so that 
they stand out clearly against the white. The tin 
tray containing the blocks is now secured on the 
door of the frame, which is then hinged up into 
place and fastened. The blocks may be seen 
clearly through the glass. 

The magician now shows a large handkerchief, 
and with it covers the front of the frame for the 
fraction of a second. The red blocks are now seen 
to have rearranged themselves into a perfect 
“Red Cross.” 


98 


BLANC ET BOUGE 




XVII 



















































































100 NEW AND ORIGINAL MAGIC 

The door is opened, the tray removed, and 
brought forward, so that the blocks may be ex¬ 
amined. The frame, the large tray, and the fold¬ 
ing stand are also exhibited. 

This effect is always well received, since it is 
one which everyone can clearly see and appreciate. 

The dimensions of the frame are 19x22 inches, 
with the opening 10 inches square, which is not 
centered:—that is, it is placed within four inches 
of the top of the frame (Fig.l) The door on 
which the tray fits is unprepared, and hinges 
down. A cross latch at the top of the frame holds 
it, when it is closed up. The space in the frame, 
below the door, is hollow, the reason for which 
will be explained later. 

There are two complete sets of blocks. There 
being forty white and ten red in all. The specta¬ 
tors are of course aware of only one set, of twenty 
five blocks. 

There are also two tin trays, 10x10 inches, just 
large enough to hold twenty-five blocks. The 
backs of these trays are covered with black velvet. 

A “fake” made of tin 10x6% inches, is 
painted to resemble fifteen of the blocks. Eleven 
of them white and four red, arranged after the 
design “B” in Figure 3. At the lower end of 
this fake is fastened, its entire length, a small 
strip of wood % inch thick. There are two small 
holes in the center of this strip, into which fit a 
“U” shaped piece of wire. 


BLANC ET ROUGE 


101 


One set of the blocks are arranged with the 
live red ones forming a Red Cross in the center. 
The “fake” is now placed over these blocks, so 
that only one of the real red blocks is visible, and 
the blocks now appear arranged in the design as 
shown in Figure 1. 

The wire “U” runs through two small holes in 
the door, and into the two corresponding ones .in 
the strip of wood, at the lower end of the “fake” 
which holds it securely in place. 

The door is now lowered in back of the frame, 
being held there by two chains. The triangle 
shaped supports on either side of the frame, pre¬ 
vent the blocks from being seen. 

There is an opening in the back of the large tray 
on which the frame stands, through which the 
smaller tray containing the blocks can be pushed, 
and so concealed in the interior of the large 
one. 

Looking over the illustrations will assist the 
reader in understanding the above description. 

The presentation of the effect, after the tray 
with the red blocks arranged as a Red Cross, but 
covered with the “fake” has been put on the door, 
behind the frame, is as follows: 

The other set of blocks are shown and placed 
one at a time on the other tin tray. Care being 
taken to place the red ones in, so that the design 
is the same as the tray on the door (Figure 1). 

With the blocks safely in, the tray is taken in 


102 NEW AND ORIGINAL MAGIC 

the right hand, and apparently placed on the door 
at the back of the frame, but in reality it is shoved 
into the opening of the large tray (The velvet on 
bottom of the tray containing the blocks, allows 
it to slide in noiselessly) - At the same time the 
left hand raises the door, and secures it to the 
top, by the catch. And now, since the design seen 
through the glass is the same as the other tray, 
the substitution of the trays is not even suspected. 
The “fake” now seen through the glass, matches 
perfectly with the real blocks. 

Now the large handkerchief is shown and draped 
over the left arm, as the performer steps close to 
the frame. The instant the handkerchief covers 
the frame, the right hand pulls out the “U” 
shaped pin from the back of the door, and the 
“fake” drops down into the lower part, which it 
will he remembered is hollow. Snatching away 
the handkerchief, reveals the blocks arranged in 
the shape of a Red Cross. 

The performer now opens the door, and re¬ 
moves the tray and blocks for examination. The 
frame may be safely picked up by the handle at 
the top, and shown from all sides and the large 
tray taken oft of the stand and placed under the 
arm (with the opening at the top), the stand fold¬ 
ed and all carried oft. 

The only practice necessary in handling this 
effect is at the point where the tray is apparently 


BLANC ET ROUGE 


103 


placed on the door. Allow the tray to be seen 
through the glass, as it is lowered behind the 
frame, then shove it half tvay into the opening 
at the back of the large tray. The right hand 
leaves the tray thus and now assists the left in 
raising the door. The tray is then completely 
shoved into the large tray, by pushing against it 
with the body. This is very easily done, for the 
performer stands directly behind the frame, as 
he raises the door. 


PATTER. 

I have here a small tin tray, which is just large 
enough however to hold the twenty-five blocks 
that go in it. 

Twenty of these blocks are white and five are 
red. 

I place the blocks in the tray one at a time, so 
you can see that they are blocks, placing the red 
ones haphazard. You will notice how these red 
ones stand out against the white. All the red 
blocks being separated from each other. The 
tray I now put in this ornamental frame, and 
clamp all securely up against the glass. 

You will now witness a marvelous transposi¬ 
tion. 

The glass is covered for an instant with this 
handkerchief. 


104 


NEW AND ORIGINAL MAGIC 


You see the “Blanc et Rouge” blocks have re¬ 
arranged themselves into the “Croix Rouge.” 
The Red Cross, the greatest symbol in the world. 
I thank you. 


XVIII 


THE CANDLESTICK TRAY 

A round wooden tray, three quarters of an inch 
thick, is exhibited, lying flat on the performer’s 
right hand. 

A large cotton handkerchief is shaken out and 
placed over the tray. With the thumb and fore¬ 
finger of the left hand the handkerchief is 
pinched in the center, and slowly raised from the 
tray. 

A candle in a nickel-plated candlestick is now 
seen on the tray, and the performer lights the 
candle. 

This is an effect which is essentially a mechani¬ 
cal one. The candlestick is only one half. The 
candle is a flat piece of metal, painted on one 
side with high lights and shadows to appear 
round; and fastened at the top of the candlestick 
by a spring hinge, which swings it upright. The 
wick of the candle is composed of a small piece of 
taper placed in a metal clip. 

The tray is cut out to allow the half candle¬ 
stick, and the candle folded down against the back, 
to be concealed within it. The underside of the 
tray is covered with tin; with the exception of 

105 


106 


NEW AND ORIGINAL MAGIC 


the center, where there is an opening, large 
enough for the base of the candlestick to pass 
through. The base of the candlestick is hinged 
at the rear of this opening, and a spring catch 
holds it, when it is placed in an upright position 
(Figure “C”)- 

Two tin flaps cover the candle and candlestick, 
when they are folded down in the tray. One flap 
is straight, and hinged at the front of the tray. 
The other is a half circle, and hinged at the rear. 

The underside and edge of the tray are now 
painted black and the top is covered with black 
velvet, as are the two flaps. The dotted lines in 
Figure “A” show the flaps closed to conceal 
candlestick in tray. The semi-circular flap at the 
rear is covered on both sides with velvet, and is 
hinged in such a manner that it may fall either 
way. The front flap is covered with the velvet 
only on the top, and is arranged with a spring 
hinge to keep it down on the tray. 

To conceal the candlestick in the tray, hold the 
candle down behind the candlestick, then lift the 
front flap, release the catch and push down the 
candlestick; then allow the flap to fall again. The 
rear flap is now swung over to hide the remaining 
exposed part of the candlestick. 

The tray is placed on the open palm of the right 
hand, so that the base of tire candlestick, which 
protrudes, is concealed by the hand. The tray, 
held in this manner, is brought forward, and with 


THE CANDLESTICK TRAY 


107 


















103 


NEW AND ORIGINAL MAGIC 


it a large cotton handkerchief. The handker¬ 
chief is spread out flat over the top of the tray, and 
allowed to hang well down over the edge. 

Under cover of this handkerchief and while it 
is being arranged on the tray, the right hand works 
around so that .the tip of the right forefinger may 
he placed on the edge of the protruding base. 

With the left hand the handkerchief is plucked 
in the center, and very slowly, and with little 
jerks, it is raised. At the same time the right 
forefinger presses forward and outward on the 
edge of the candlestick base. This pressure causes 
the candlestick to swing into an upright position, 
where it is retained by the spring catch. 

The front flap drops back into place, as soon as 
the end of the candlestick clears it. 

The rear flap turns completely over, and lies flat 
on the top of the tray, behind the candlestick. 

By this time the handkerchief has been pulled 
up to a point, where the base of the candlestick 
is visible, and raising it still further, the fake 
candle is pulled up into place by its spring hinge, 
and the handkerchief is removed entirely. 

It is important that the handkerchief be raised 
in a slow and jerky manner, in order that the mov- 
ment of the candlestick from its horizontal posi¬ 
tion, and the opening of the flaps, will not be no¬ 
ticed under the folds of the handkerchief. 

And now, since the candlestick is secured in its 
upright position by the spring catch, the tray may 


THE CANDLESTICK TRAY 109 

c held by the edge, and placed on a table while 
the candle is lighted. 

TO PERFORM 

1. Tray on right palm. Protruding base con¬ 
cealed by hand. Handkerchief in left. 

2. Cover tray with handkerchief. Turn right 
hand so that forefinger tip is on edge of base. 

3. Lift handkerchief by center jerkily. Push 
out and up on base, until candlestick is secured 
upright. 

4. Kemove handkerchief. Hold tray by edge. 
Place on table, and light candle. 

PATTER 

And now to offer for your consideration this 
tray which I hold on the palm of my hand. You 
will notice that it is scarcely an inch thick. 

I shall now exhibit a most marvelous “clanstof- 
ogation.” This handkerchief. Just an ordinary 
handkerchief. I lay it carefully flat on the tray. 

Now with the thumb and forefinger, I gently 
and gracefully ( ?) pinch the exact center of the 
handkerchief and slowly raise it—So'? 

My hand seems to tremble, for tonight the 
spirits are working fast and constructing at a rapid 
rate. 

What have we here ? 


110 


NEW AND ORIGINAL MAGIC 


A candlestick and a candle. 

There. 

I light the candle and it burns quite all right. 
I thank you. 


XIX 


WITH A BILLIARD BALL 

Requiring a match in order to light a candle, 
the magician hunts in vain for a box of matches. 
None being found he declares he must produce a 
box, magically. 

Picking up a small conjuring billiard ball, he 
holds it in the right hand, encircled by the thumb 
and forefinger. 

A magic wave of the hand, and the ball has 
changed into a box of safety matches. The draw¬ 
er is pushed out, a match extracted, struck, and 
the box shown from all sides. The candle is 
lighted and box tossed to audience for examina¬ 
tion. 

The illustration will show that the drawer of the 
match box is prepared by 'cutting it in half. A 
small wooden block is glued in this half, and a 
number of safety matches glued on top. How¬ 
ever a space is left among these matches for a 
match to be wedged, so that it may be easily re¬ 
moved. 

Attached to the wooden block is a piece of tin, 
terminating in a small hinge. 

A shell of a conjuring ball 1% inches in diam- 
111 


112 NEW AND ORIGINAL MAGIC 

eter, is slightly cut down, so that it will slide easily 
in and out of the box. This shell is now glued on 
to a piece of wood, which is in turn attached to 
the hinge, so that when the shell is hinged flat 
against the tin, the whole thing will easily slide in 
and out of the box. 

With a box 2 1 / 4 inches long, the drawer, from 
the edge of the folded down billiard ball (Fig. 3), 
to the opposite end is 2% inches, and when the 
billiard ball is pushed in so that it just clears the 
edge of the box, the drawer will protrude from the 
other end of the box about % inch. 

When the “match end” of this fake is pushed 
in, the billiard hall extends from the end of the 
box, it is then bent at right angles by means of 
the hinge, so that with the box held in the right 
hand (Fig. 1) the shell appears, as a solid ball, 
encircled by the thumb and forefinger as in 
Figure 2. 

In presenting this little transformation effect 
the box is palmed in the right hand, with the bil¬ 
liard ball pushed out. A solid 1% billiard ball is 
exhibited in the left hand. It is apparently placed 
in the right hand, but in reality palmed 1 away in 
the left, as the right shows the shell, encircled by 
the thumb and forefinger as in Figure 2. The 
hand is now given a magic flourish, while the 
thumb bends the shell flat against the tin, and 
pushes it into the box. However care is taken 

1 See Appendix 9. 


WITH A BILLIARD BALL 


113 



XIX 
































114 NEW AND ORIGINAL MAGIC 

not to push it all the way in, so as not to push the 
drawer out the • other end. 

The box is now exhibited, so that the small 
amount of the shell still projecting from the box is 
covered by the fingers. The shell is now pushed 
all the way in, under cover of the fingers of course, 
and the drawer is revealed. The loose match is re¬ 
moved and struck on the side of the box. 

The box may be freely shown, if the finger is 
held over the open end, to prevent the shell from 
being seen. 

At the instant the match box is revealed in the 
right hand, and the attention of the audience is 
centered on it, the body is given a turn to the left, 
so that the left hand hidden by the body, drops 
the palmed billiard ball into the coat pocket with¬ 
out being seen. 

An extra box of matches is concealed behind a 
handkerchief on the table and when the performer 
approaches to light the candle standing there, the 
fake match box is dropped carelessly behind the 
handkerchief and beside the real box. 

After lighting the candle the real box is picked 
up and tossed to the audience so that they may be 
convinced that it is real. The substitution will 
not be suspected. By painting the shell to resem¬ 
ble a golf ball a very unique effect is produced. 
This makes a.11 excellent pocket effect for it is 
easily carried about. 


WITH A BILLIARD BALL 115 

The method of working is exactly the same as 
with the billiard ball, described above. 

1. Palm fake match box in right hand, with 
shell out. Show solid ball in left hand. 

2. Apparently place ball in right. Show shell. 
Palm away solid ball in left. 

3. Show box with fingers over small part of ball 
projecting. Turn left. Drop solid ball in pocket. 

4. Push in shell, still covered by fingers. Take 
out loose match and strike. Drop box behind 
handkerchief, alongside of real box. 

5. Light candle. Pick up real box, toss for in¬ 
spection. 


PATTER 

And now to light the candle. 

My matches. Where are they? They should 
be right here on my table. 

Not in my pocket. In fact nothing in my pocket 
but this small ball. 

Well, this will have to do. 

But you say, I can not light the candle with a 
ball. I shall show you how a Magician extricates 
himself from such difficulties. 

I place the ball in my hand, so. 

By gently massaging it with one hand only, I 
transform it into—a box of matches. Just what 
I require. 

And now I can light the candle. 


116 


NEW AND ORIGINAL MAGIC 


The box of matches are just what they seem— 
a box of matches. 

Here—look them over. 

They are OK? 

I thank you. 


XX 


JACK ROSE 

A very pretty effect is obtained in this exper¬ 
iment by the mixing of a “dry” Jack Rose cock¬ 
tail. In fact “very dry,” for the ingredients are 
different colored silk handkerchiefs, which are 
placed in a cocktail shaker and glass and thor¬ 
oughly mixed. The result is a large silk, beauti¬ 
fully blended from an old rose to a pale pink. 

The requirements for this effect are,—a cock¬ 
tail shaker, which has a lining or cup extending 
about one half its depth, and may be quickly re¬ 
moved by means of 4 hook fastened to its edge;— 
a tall glass, and a table with a servante . 1 

The large blended silk is stuffed into the lower 
part of the shaker and the cup or lining placed in 
the shaker on top of it. With a quick flourish, the 
shaker now appears empty. The different col¬ 
ored silk handkerchiefs are shown and as they are 
placed in shaker (in reality in the upper part 
only) each is named according to its color, as an 
ingredient of a Jack Rose cocktail; orange for 
orange juice,—green for gin,— red for grenadine, 

1 See Appendix 1. 


117 


118 


NEW AND ORIGINAL MAGIC 


the white one for the white of egg, the blue one for 
the ice, etc. 

As the last silk is picked up, performer steps 
forward away from table, and with shaker held 
in right hand (Figure 2) left hand stuffs this 
last handkerchief in also—This is done with 
the left side and mouth of shaker toward the aud¬ 
ience. The right hand is now given a half turn 
and bottom of shaker is grasped by the left 
hand (Figure 3). This gives an opportunity 
to pull the cup loose from the shaker by means of 
the right hand pulling on the hook extending over 
the edge. Now, the magical bartender turns to 
his bar (pardon me) table, the cup is removed 
by the right hand, being masked by the body and 
is dropped into the servante as the left hand brings 
shaker down rather sharply on the table (Figure 

4 )- 

Immediately upon dropping cup into servante, 
the right hand picks up the glass, and smartly 
jams it into the shaker. Both are now given a real 
“beverage dispenser” shake. With the shaker 
held uppermost, the large silk is shaken down 
into the glass, where the blended pink and rose 
may be seen through the glass. 

The shaker is removed with a twist, and the 
large silk “poured’) from glass to shaker and vice 
versa, finally being shaken out, as the shaker and 
glass are passed for examination. 

If the possibilities of this experiment are 


JACK ROSE 


119 





XX 
























120 


NEW AND ORIGINAL MAGIC 


“played up” to their fullest extent, a very amus¬ 
ing and pretty effect will be the result. 

Remember to: 

1. Show the shaker carelessly, with silks. Ex¬ 
plain silks represent ingredients. As they are 
placed in shaker, double up fingers and press them 
down with the knuckles of left hand, to give the 
impression that they are placed well down in the 
shaker. 

2 . Step forward, as the last silk is picked up, 
and placed in. Left side to audience, shaker in 
right hand. Turn shaker so that mouth is away 
from audience, grasp bottom with left hand. 
Loosen lining with right hand. 

3. Turn to table. Extract lining containing 
silks and concealed by the body drop it in servante 
Shaker on table. 

4. Place glass in shaker. Shake with much 
exaggerated motion. 

5. “Pour” blended silk from shaker to glass, 
then pass all for examination. 

PATTER 

A little experiment in an ancient language. The 
ingredients of a Jack Rose cocktail. It was ages 
ago when they were mixed and the necessaries for 
mixing them are not quite clear in my memory. 
Lest I get into Government difficulties, I shall mix 


JACK ROSE 121 

a dry one. In fact very dry, for the ingredients 
shall be these silk handkerchiefs. 

I have the shaker here. Now for my memory. 
This orange handkerchief shall be the orange 
juice—the white one—the white of egg, naturally. 
The blue one the ice, this beautiful red one the 
grenadine. The green one the gin. The yellow 
for a dash of lemon juice. These other varied 
colored ones for any other ingredient that may 
have been forgotten, as my mind reaches into antiq¬ 
uity. And now for the glass. 

There. 

A real old fashioned bartender shake. This may 
look more proficient than I should like it to, never¬ 
theless it is essential for the success of any cock¬ 
tail—wet or dry. 

There. 

The ingredients are mixed into a beautiful 
“ Jack Rose” colored silk. 

I don’t believe they can confiscate that. 

I thank you. 


XXI 


THE WRIST STOCK 

An Escape effect introduced into a magical per¬ 
formance is sure to be well received, bringing with 
it, as it does, a change from the numerous appear¬ 
ances, disappearances, etc. Then too, a piece of 
restraint apparatus creates an interest on the part 
of the spectators, as the majority of people are 
entirely unfamiliar with such things, and their 
attention is assured on account of their curiosity. 

This particular piece of apparatus was origin¬ 
ated in 1912, and since that time has only been 
shown in private. It consists of two blocks of 
wood. 8x3^ inches each, and two inches thick. 
In each of these blocks is cut a half circle, and 
they are hinged together at one end, with a staple 
and hasp at the other end. With the blocks closed, 
the round opening thus formed is just large enough 
to tightly encircle both wrists, when they are 
held together. The illustration shows the exact 
design. 

The performer brings forward the stock and 
explains its construction to the spectators, who 
are shown how it opens and closes tightly around 
122 


THE WRIST STOCK 


123 



2 * 



XXI 




























124 NEW AND ORIGINAL MAGIC 

the wrists. By placing the stock on the wrists of 
one of the spectators, it is demonstrated how help¬ 
less one becomes, when confined in the apparatus. 
A padlock is shown, and examined by the audience. 
The stock is finally clasped around the performer’s 
wrists, and th& padlock snapped on the staple, with 
its key-hole sealed. 

The performer calls attention to the fact that 
it is impossible for him to touch either the hinge 
or the hasp end of the stock, and of course equally 
impossible for him to pull his wrists through the 
opening. He now retires for a few seconds, soon 
reappearing with the stock carried in his hands, 
and offers it to the audience to satisfy themselves 
that it is in exactly the same condition as before. 

The secret release of this Wrist Stock is in the 
hasp. It being constructed according to the 
‘‘ Close-up ’ ’ in Figure 2. This hasp is of the famil¬ 
iar triangle hinge type, with three screws. The 
three screws are faked. The center screw extends 
through a % inch piece of wood on the under side 
of the hasp, ending in two nuts and a wedge-shaped 
latch. This screw can be turned so that the latch 
part is either length-wise with the hasp or across 
it. The latch fits under a small but strong strip 
of metal, screwed securely into the opening in the 
end of the stock, which has been cut out to receive 
the hasp (“E” in Figure 3). By “Wedge- 
shaped latch” is meant that one edge is sharpened, 
so that the more the latch is turned under the metal 


THE WRIST STOCK 125 

piece “E” in Figure 3, the tighter it holds the 
hasp. 

The screw nearest the hinge part of the hasp, 
is merely a head (“B” in Figure 2) and the one 
at the opposite end extends down thru the wood, 
and is secured by a nut. The end of this screw is 
allowed to protrude, and fit into a corresponding 
hole in the stock. The thread is smoothed oft, on 
one side as shown in Figure 2, “C”. 

The edge of the ^4 inch wood is curved upward 
at “A” so that when the hasp is counter-sunk in 
the stock, and the latch of the center screw re¬ 
leased, a pull straight away on the end of the hasp, 
forces the narrow end of the hasp up which then 
causes the entire hasp to lift up out of the open¬ 
ing. (Figure 1). 

“D” in Figure 2 is a pick to be placed in the 
mouth and used to turn the center screw. It is 
made of a piece of steel, secured between two pieces 
of wood, in order to give a good grip for the teeth. 
The pick is hidden in the trouser cuff or shoe. 

As the performer is being locked in the stock, 
he should see that the hasp end is at the top, with 
the padlock side to the left. Stepping out of sight, 
the pick is taken from the trouser cuff or shoe, 
with the fingers, and transferred to the mouth. 
By twisting the hands, the stock is turned so that 
the metal part of the pick can be inserted in the 
head of the center screw, and the screw given a 
half turn. This releases the hasp, which is pulled 


126 NEW AND ORIGINAL MAGIC 

up out of place, when each wrist exerts an outward 
pressure on either side of the stock. Thus the 
stock opens. The hands are withdrawn, the hasp 
quickly replaced and locked in position by turn¬ 
ing the screw back again. The pick is secreted, 
and the stock brought out for examination. 

As the performer steps out with the stock in 
his hands, he holds it with the hasp end down. The 
hinge end being up, the right thumb, apparently 
surreptitiously rubs over the “pin” end of the 
binge. This little byplay invariably draws the at¬ 
tention of the keen observers in the audience to 
the hinge, and away from the hasp end of the stock, 
since it appears to them as if the performer were 
making sure all was right, before handing the 
stock for examination. Great care should be 
taken not to overdo this, and unless it can be 
handled artistically it had better not be done at all. 

In constructing the apparatus, the hasp should 
fit absolutely snug in the end of the stock and with 
the latch secured it should fit as tight as if it were 
actually screwed there. 

After escaping, the stock should be handed for 
examination still locked, and should not be un¬ 
locked again unless pressed to do so by the au¬ 
dience, as the chances for discovery are much less, 
with the stock closed. 

Using the pick in the mouth soon becomes a 
very easy matter, and a release can be attained in 
a very few seconds. 


THE WRIST STOCK 


127 


PATTER 

In the olden days, when a man walked a bit too 
fast on Sunday or forgot to pay his tailor bill 
on time, he was promptly clapped into the stocks. 

As you no doubt know, these were large wooden 
pieces, with holes that accommodated the wrists 
and ankles. The unfortunate victim was then 
made to sit there tightly “stocked” until he walked 
slower or paid the tailor his bill. 

I have here a wrist stock made similar to the old 
style stock they used in those days. 

It is hinged at one end, and at the other there 
is a hasp, a staple and a padlock. 

You, Sir, will you place your wrists in the stock 
so you may feel how decidedly uncomfortable it is? 

One is very helpless? 

Quite right. 

And now if you will hold the stock, and place 
it around my wrists I will endeavor to escape, with¬ 
out damage to the stock. 

But there may be, to my wrists. 

Let’s try. 

There. You see I am like many people’s cellars 
these days, well-stocked. 

I cannot touch the hinge nor the padlock. You 
have the key, Sir. I could not reach the key-hole 
if I had the key myself. You see I am secure. 

I shall step behind this curtain for a very few 
moments. 


128 


NEW AND ORIGINAL MAGIC 


Pardon me. 

There. I am free, and the stock is in exactly the 
same condition it was before. 

Kindly examine it. 

I thank you. 


XXII 


THE RISING CARDS AGAIN 

Was there ever a book on magic that did not in¬ 
clude “another method” for causing chosen cards 
to rise from the deck ? And this will be no excep¬ 
tion. Countless means have been devised to make 
the cards rise, but the faithful thread in the hands 
of the assistant has been found to be the most 
practical of them all. 

The following explanation shows how the Ris¬ 
ing Cards may be performed with such advantages 
as,—the chosen cards are not forced, and the pack 
may be removed from the glass, and shuffled; be¬ 
tween the rising of each card. The cards are im¬ 
mediately handed for examination as they come 
up out of the deck, and after a card has risen, it can 
be commanded to return into the deck. 

The table used for this system of Rising Cards 
is of the small, undraped side stand type. Thru 
a small hole in the center of the top, and down 
into the shaft, runs a metal rod, painted black, and 
made of thin but strong wire. One end of this 
wire is bent, at a right angle, terminating in a 
sharp needle point, and the other end is straight, 
and threaded. A small weight screws into this 

129 


130 


NEW AND ORIGINAL MAGIC 


threaded end, and a fine black silk thread is 
attached to the weight, and runs up through the 
same hole with the rod. ( See illustrations). The 
length of this wire rod should be slightly less than 
twice the height of the goblet used. 

With the rod all the way down into the shaft of 
the table, the end of the needle point lies flat on 
the table top. This is painted to match the top. 
A pull on the thread will of course cause the rod to 
rise. 

The table being thus prepared, the goblet and 
a pack of cards are placed on it, and performer 
steps forward stating he will exhibit his “ Obedient 
Cards. ” 

Picking up the pack, it is given a shuffle, the 
goblet is shown, and placed on the table directly 
in front of the hole, through which runs the rod. 
The performer advances with the pack for a few 
cards to be selected, which gives the assistant ample 
opportunity to pull the thread, so that the needle 
point can be raised to a point just at the rim of the 
goblet. This will not be noticed as the attention is 
centered on the performer. 

After the cards have been returned to the pack 
the performer executes the “Pass” 1 bringing them 
to the top of the deck. The pack is now given a 
false shuffle, 2 and squared up. Advancing to the 
table, the pack is placed in the goblet, with the left 
hand, and the right hand, as it apparently assists 

1 See Appendix 10. 

2 See Appendix 11. 


THE RISING CARDS AGAIN 


131 


r 

IB 

Ms/ 

m A 

J'c 

. . 

^ . 

! 

t 

W 


XXII 
















132 


NEW AND ORIGINAL MAGIC 


in “patting down” the cards on the top, swings the 
needle around, and presses it against the rear 
card. 

At the word of command the assistant slowly 
pulls the thread, and the rod rises, carrying with 
it the card stuck to the needle point. 

As the card reaches the top of the deck, it is 
ordered to “Stop” and the performer approaches, 
and removes it, easily detaching it from the needle 
point. However, the card is not removed too rap¬ 
idly, in order to give the assistant time to lower 
the needle again to the rim of the goblet, as it is 
masked by the card. 

When the pack is taken out of the goblet, so as 
to give it a false shuffle, in order to prevent disar¬ 
ranging the other chosen cards at the rear the 
needle point resting on the edge of the glass will 
not be noticed. (However if performing rather 
close to the audience, and with a somewhat light 
background, it would be advisable to have it drop 
down to the table top.) 

It will now be seen that, inasmuch as pulling on 
the thread cause a card to rise, the paying out of 
the thread will make it return into the pack, being 
pulled down by the weight. 

If it is necessary to show the goblet again, free 
from suspicion, the needle point is then allowed 
to drop, to the table top. 

Co-ordination on the part of the assistant and 
performer will be attained after a few trials. The 


THE RISING CARDS AGAIN 133 

assistant should be in such a position that he is 
able to see the table top. 

The manipulations required are: the ability to 
execute the “Pass”; a false shuffle; and a 
natural manner in putting the cards in the goblet, 
as the needle point is pressed against the rear card. 

After preparing the table with the rod, etc., and 
placing the goblet and cards on it, the handling 
of this effect should be, briefly, as follows: 

1. Show pack. Shuffle. Exhibit goblet. 

2. Place goblet on table, directly in front of 
hole. 

3. Advance with pack. Cards chosen. Assist¬ 
ant pulls needle to edge of goblet. 

.,4. Cards return to deck. “Pass” to get them 
to top. False shuffle. 

5. Cards squared. Put in goblet, as needle is 
swung around and pressed against rear card. 

6. Cards rise, by assistant pulling on thread. 

7. As each card is removed, assistant drops 
needle point to edge of glass, or to table top, as 
desired. 

8. At the finish of the experiment the needle 
point is dropped flat on table top. 

PATTER 

Every conjuror must have a pack of cards that 
will obey his every command. I have such a pack 
here. It is not merely a handful of pasteboards, 


134 


NEW AND ORIGINAL MAGIC 


but every card is hypnotised by my touch, and will 
do as I say. 

These are my obedient cards. 

May I ask that several of these unusual cards 
be taken from the deck ? Thank you, Sir. Thank 
you, Madam. 

Now we will place them back in the deck, and 
shuffle them well in. This goblet is free from 
suspicion. Yes indeed,—examine it. It is OK? 
Very well. 

The deck is placed in the goblet, and I command 
the first card chosen to rise. 

Come-Come. There you see. Slowly and grace¬ 
fully it obeys. Kindly take the card, Madam, and 
see that it is merely a piece of pasteboard. Yes, 
true—but it is under my hypnotic influence. 

To show you that the cards will obey me in every 
instance, I shall cause this next card to go back 
into the deck. 

Rise!—There he comes—the Jack of Hearts, the 
rascal. 

Stop! Right. Now go back. All the way 
down. Well done. Now up again. Fine. 

Here he is, look him over, Sir. 

The next card will obey just the same. 

And the next and the next,— 

My cards have obeyed well this evening. I will 
place them in your hands along with the goblet, 
so that you may see that the obedience is caused 
by my magic touch alone. 

I thank you. 


XXIII 


THE BORROWED HANDKERCHIEF AND 
THE IMPENETRABLE CASKET 

The “Impenetrable Casket’’ is so called on 
account of its construction. It is made of a solid 
block of wood; 6x3%inches, and 3 inches thick, 
with a space chiseled in the center, and a solid 
piece of wood screwed on the top with six screws 
to form the lid. There are no joints in its con¬ 
struction, and therefore it is apparently impossi¬ 
ble to put anything inside, unless the six screws 
are unscrewed, and the lid removed. 

A thin band of y 2 inch wood is securely nailed 
and glued around the top. The lid fits down on 
the top, within this band of wood, so that the 
edges of the lid are protected. Four little claw 
feet support the casket at each corner. 

The manner of using this casket, in an experi¬ 
ment which leaves the spectators quite bewildered, 
follows:— 

The performer requests the loan of a lady’s 
handkerchief, and receiving one, he rolls it up into 
a ball, and drops it in full view of the audience, 
into a glass on the table. 

The casket is now brought forth, and attention 


136 


NEW AND ORIGINAL MAGIC 


is called to its solid construction, and the fact that 
the lid is securely screwed on. It is handed to a 
spectator, to see that all is solid and that the lid 
is really screwed fast to the casket. The specta¬ 
tor is then asked to hold the casket for a moment. 

The handkerchief is now taken out of the glass, 
unrolled, and wrapped in a piece of newspaper. 

A word of command. The paper is torn open. 
The handkerchief has vanished, and in its place 
is a small screw-driver. The screw-driver is 
handed to the party who holds the casket, and he 
is asked to unscrew the lid. 

This being done the borowed handkerchief is 
found within. 

Inasmuch as it took considerable time to take 
out all the screws, and remove the lid, the specta¬ 
tors are very much perplexed as to how the hand¬ 
kerchief could have gotten inside so quickly. 

The secret construction of the casket is revealed 
by the illustrations. There is a wooden lining, 
which fits perfectly to the inside of the casket. It 
is designed, wedge-shaped at the top, so that the 
lid may be screwed on it. The bottom is open. 
This lining must be so accurately made that a very 
tight fit is obtained. The inside of the lining is 
covered with black velvet, as is the bottom of the 
casket proper. Figure 2 “A” is the lid. “B” 
is the lining. “C” the solid wooden casket. 

With the lining in the casket the fit should be 
so tight that the only way to extract it is by taking 


THE BORROWED HANDKERCHIEF 



XXIII 




















138 


NEW AND ORIGINAL MAGIC 


the casket with the palms of the hands at each 
end, the fingers grasping inside, and exerting a 
strong outward and upward pressure with the fin¬ 
gers. 

The handle on top of the lid (Figure 2— ( “A”) 
is purposely made small and rounded, so not much 
of a hold can be obtained on the lid. Therefore 
the lining cannot be pulled out with the lid screwed 
on, and the only way it can be removed with the lid 
oft, is by using both hands, as described above. 

The screw-driver is five inches long, and a metal 
ring just fits over the end of the handle. To this 
ring is sewn the corner of a handkerchief (Fig¬ 
ure 1 “D” the corner sewn to the ring, “E” the 
screw-driver). 

To prepare this experiment for presentation, 
the lining is extracted from the casket, and the lid 
screwed on it. The lining is now turned upside 
doivn, and with the casket is placed off stage or 
behind a screen. 

The screw-driver with handkercliief-tip at¬ 
tached, rests on two nails at the rear edge of the 
table, directly above the servante. A piece of 
newspaper eight inches square lies on the table top, 
with one edge hanging over the screw-driver and 
beside the paper, a goblet. 

A lady’s handkerchief is rolled into a ball, and 
placed under the vest on the right side. 

And now with everything arranged in the above 
manner, the effect is ready for presentation. 


THE BORROWED HANDKERCHIEF 


139 


Step forward and ask for the loan of a lady’s 
handkerchief, taking one of a simple design, and 
as near like the 4 ‘vested” one as possible. Roll 
it into a ball and place it in right hand. As yon 
turn right to table, substitute it for the “vested” 
handkerchief, and drop this one into the glass. 
Now with the borrowed handkerchief “vested,” 
step to get the casket. Unroll the handkerchief 
and push it into the wooden lining . Pick up the 
casket, turn it upside down and press it down over 
the lining. This is but the work of an instant. 
Step forward with the casket and explain the fea¬ 
tures of its construction. Then hand it to a 
spectator to examine and hold. 

Turn again to the table and take the handker¬ 
chief out of the glass, and shake it out. With the 
handkerchief in the right hand, reach to pick up 
the paper. The handkerchief is dropped into the 
servante as the screw-driver and paper are picked 
up together. Roll the paper around the screw¬ 
driver making sure that the spectators see the 
corner hanging out, and then, rather deliberately, 
tuck it in. However, do not verbally call attention 
to this. 

Command the handkerchief to leave the paper, 
and fly to the casket held in the spectators’s hand. 
Break open the package, and extract the screw¬ 
driver, taking care to retain the fake corner of 
handkerchief in the paper, as it is crumpled up and 
tossed to one side. The screw-driver is handed 


140 NEW AND ORIGINAL MAGIC 

to the guardian of the casket, with the request to 
remove the screws and lid. This being done the 
borrowed handkerchief is discovered inside, and 
then returned to the owner with thanks, and the 
hope that it has arrived in good condition after its 
unusual flight. 

Prepare the apparatus as already described, and 
present the' experiment in the following se¬ 
quence :— 

1. Borrow handkerchief, as near like “vested” 
one as possible. Boll in ball. 

2. Turn right to table. “Switch” handker¬ 
chiefs. 

3. Drop substitute handkerchief in glass. 

4. Go for casket. Remove borrowed handker¬ 
chief from vest. Place in wooden lining. Pick 
up casket, upside down and place it down over lin¬ 
ing. 

5. Bring forward casket, pressing down firmly 
on lid with fingers, to make lining “seat” properly. 
Hand to spectator. 

6. Unroll substitute handkerchief. Drop in 
servante as screw-driver and paper are picked up 
together. Fake corner hanging out. Roll up 
paper. Tuck in corner. 

7. Break paper. Remove screw-driver. Re¬ 
tain fake corner in paper. Crumple and toss 
aside. Hand screw-driver to spectator holding 
casket. 


THE BORROWED HANDKERCHIEF 


141 


PATTER 

May, I borrow a lady’s handkerchief ? Have 
no fear, Madam, it is for conjuring purposes only. 
Thank you. 

You do not object if I roll it into a small ball? 
Very well! 

The ball I drop into this glass and ask that you 
watch it, while I get my casket. 

Here it is. 

I should like to call your especial attention to the 
construction of this casket. It is made of a solid 
piece of wood. There are no joints at all. The 
lid is securely screwed down by these six screws, 
and the edges of the lid are protected by this band 
of wood running around the box. The casket is 
chiseled out inside forming a compartment. As I 
said before the lid is securely screwed on, and it 
is impossible to place anything inside without 
taking out the six screws and lifting off the 
lid. 

Will you, Sir, examine the casket, see that all is 
secure, and hold it for a moment. 

The handkerchief I take from the glass, unroll, 
and wrap, in this piece of paper,—so. 

Go! 

The handkerchief has vanished and in its place 
is this screw-driver. Here, Sir, will you please, 
take out the screws in the lid of the casket, and 
remove the lid? 


142 


NEW AND ORIGINAL MAGIC 


There. Is that your handkerchief, Madam? 
Will you remove it yourself ? Kindly examine the 
casket. Just a solid block of wood. 

I thank you. 


XXIV 


THE CRYSTAL CARD TRAPEZE 

The reappearance of a previously destroyed 
card, in an unexpected manner is always well re¬ 
ceived by an audience. Sometimes it appears in a 
picture frame; or on top of a bottle;—in a box; or 
on a velvet cloth;—or even at the tip of a candle 
flame. 

So after seeking about for a novel method for 
the arrival of the card, it was decided to have it 
appear, balanced on the edge of a glass bar, hang¬ 
ing by two ribbons, in the manner of a trapeze. 

The glass bar used is barely an inch in diameter 
and the appearance of the card is instantaneous; 
the effect being, as if it were shot there by the 
pistol. 

The secret of this balancing card on the glass 
trapeze lies partly in the card, and partly in the. 
bar. 

The card is a court card and is prepared by 
having it hinged in the middle, preferably with 
rubber, which tends to keep it out flat and unfold¬ 
ed. At the extreme end are two small wire hooks, 
and at the opposite end, but at the back, is a small 

143 


144 NEW AND ORIGINAL MAGIC 

pin, to which is attached a thread. The back of the 
card is painted a dull black (Figure 2). 

The bar has two metal braces at either end, to 
which are attached the ribbons. Fastened to one 
of the metal braces along the rear of the bar is a 
wire, terminating at the brace at the opposite end 
where it is secured. In the middle, the wire is 
bent out in a “U” shape, about one inch. On 
either side of this “U” are two very fine wire 
loops, running completely around the bar and wire, 
which serve the double purpose of keeping the wire 
“U” in place, and through which the wire hooks 
on the card are caught. These fine wire loops 
around the bar are not noticed at a short distance. 

It will now be seen that when the card is attached 
to the bar, by putting the hooks through the loops 
of the fine wire, and folding it down, it will rest 
behind the bar on the “U” shaped wire (Fig. 3). 

Attached, also to the wire, slightly more than the 
width of the card, and one on each side of the U U”, 
are two tiny pieces of a pliable or soft wire. These 
are the catches, which hold the card folded. They 
should just barely touch on each side of the 
card so that the very slightest movement will re¬ 
lease it. 

There is a ring at the upper end of each ribbon, 
so that the trapeze may be hung on an horizontal 
cord, stretched across the stage. A fine but strong 
black silk thread is looped under the “pin” at the 
upper end of the card; run up over the horizontal 


THE CRYSTAL CARD TRAPEZE 


145 



XXIV 





















146 


NEW AND ORIGINAL MAGIC 


cord, and down again, where it is tied to a small 
lead weight. 

The magical table is placed a bit forward and 
under the trapeze. To the rear of the table is a 
holder for the weight, composed*of two small screw- 
eyes, and a wire pin, to which is attached a thread 
(See sketch in the circle). “A” is thread up over 
horizontal cord and down to card. “B” the wire 
pin, “C” the thread attached to pin, the other end 
is attached to the pistol, or “Automatic Release” 
(see No. XI). “D” the weight, which drops when 
the pin is pulled out. 

The length of the thread attached to the weight- 
should be such that, with the card standing upright 
on the bar, the weight hangs just at the edge of 
the table drape. 

The drape should be about eight inches. (Fig¬ 
ure 1). 

In preparing this effect, the card is folded down 
behind the bar, so that it rests on the wire “IT”. 
The two small flexible wires are caught over each 
edge of the card. However just enough to hold it 
down. The weight is hung behind the table on the 
wire pin. 

The thread attached to the wire pin is tied to 
the pistol, or “Automatic Release.” The pistol 
is placed on the table, along with a candle in a 
candlestick, a pack of cards, and a plate. The 
length of this thread is determined by the distance 
the performer wishes to stand from the table. 


THE CRYSTAL CARD TRAPEZE 147 

Before performing the experiment the magican 
should gauge the angle at which the folded card 
lies behind the bar, by the position of the eyes of 
the audience. The card, folded, should be on a 
direct line with the spectators’ eyes. The metal 
“U” is easily bent up or down, to accomplish this. 
The card is not seen behind the bar, on account 
of the peculiar lights and shadows in a solid bar 
of glass. These lights should be so accentuated 
however, by having plenty of light in front of the 
apparatus. 

And now the smiling magican approaches with 
the inevitable pack of cards, and with the, also in¬ 
evitable, request to “take one.” Being returned 
it is ignited in the candle flame, and dropped on the 
plate to be reduced to ashes. The ashes are 
scooped out of the plate and poured into the barrel 
of the pistol with the aid of a card. With the 
pistol in his hand the performer steps away from 
the table to the spot (previously marked) which 
he knows is the limit of the thread tied to the 
pistol. Then at the instant of firing the thread is 
pulled, which removes the pin and allows the 
weight to drop, and so “yanks” up the folded card, 
which now appears out of nowhere and balances 
itself on the glass bar. 

The bar should hang well over the performer’s 
head, so that he will not be expected to remove 
the card for inspection. Inasmuch as it is out 
of his reach, it will be taken for granted that it 


148 


NEW AND ORIGINAL MAGIC 


remain there, which would not be the case if the 
bar were hung lower. 

After a careful preparation of the apparatus 
the essential steps in performing the “Card 
Trapeze ” are tabulated below:— 

1. Force 1 duplicate of card behind bar. Burn 
at candle flame. Ashes poured in barrel of pistol. 

2. Step away from table with pistol, watching 
for marked spot on floor, indicating limit of 
thread attached to pistol. 

3. Fire pistol and'pull thread, or watch sema¬ 
phore or “Automatic Release” and then fire. 
(See No. XI). 


PATTER 

My pack of cards. Fifty two, and each one 
different. May I ask you to select one, Madam'? 
I thank you. Kindly allow every one but myself 
to see it. Every one please remember that card. 
I light my candle, and now may I have the card ? 

There you see I burn it in the flame before your 
eyes. 

The ashes, I scoop from the plate and pour into 
the barrel of my pistol, so. 

I have hanging over my head here a bar of glass 
supported by two ribbons. You can see right 
through the glass, and it hangs high, well away 
from everything. 

i See Appendix 12. 


THE CRYSTAL CARD TRAPEZE 


149 


I take steady aim at the bar, as it hangs there— 
a sort of crystal trapeze. 

One-two-three. 

Bang! 

Is that your card, Madam? 

The Jack of Hearts? 

He is quite the acrobat and equilibrist you see 
for he seems professionally unconcerned on his 
precarious perch. 

I thank you. 


XXV 


AN INSTANTANEOUS EOSE-BUSH 

The magical appearance of real flowers has 
always been a most popular item in any conjuring 
performance. There have been many ways for 
causing their arrival, but whichever method is 
used, the fact that they are real flowers, and are 
cut and handed out as souvenirs, is sure to be ap¬ 
preciated. 

“The Instantaneous Eose-Bush” may be re¬ 
ceived as one more method of performing this ever 
popular effect. 

A flower pot is shown to be filled with sand, and 
unprepared. A sheet of glass is placed on the top 
of a small hexagonal tabouret of oriental design, 
and the flower pot placed on the glass. 

A cloth is exhibited, shaken out, and held for 
an instant in front of the flower pot. Its removal 
discloses the familiar small sprout, growing in the 
sand (Fig. 1). Once more the cloth is shaken 
and again spread out in front of the flower pot. 
Being immediately snatched away, a beautiful 
rose-bush is seen. (Fig. 2). The roses are clipped 
off with a pair of scissors, and given out to the 
audience. 

A study of Figure 3 of the illustration will 

150 


AN INSTANTANEOUS ROSE-BUSH 


151 



XXV 
































152 NEW AND ORIGINAL MAGIC 

clearly show how the rose-bush is concealed, and 
how it is made to appear. The bush is artificial, 
with real roses tied on in an artistic manner. This 
artificial bush is attached to a bent rod, which is 
hinged at the rear of the tabouret, and is the 
height of the flower pot. The rear panel is cut 
away, which allows the bush to be hinged down 
and concealed in the interior of the tabouret. It 
is retained there, by a catch, operated by a foot 
pedal at the side of the tabouret. When the pedal 
is stepped on, the catch releases and by the aid of 
the quite strong spring hinge the bush swings 
rapidly up into place. 

There is a slit in the top of the tabouret, which 
allows this rod to swing through the overhanging 
part in the rear. At the extreme edge there is 
a small rubber flap, “A,” which makes the edge of 
the top appear unbroken. 

A semi-circular piece of tin covered with black 
velvet is fastened inside the tabouret at the front, 
which “blankets” the openings between the legs 
“B”. This prevents the bush from being seen, 
when it is inside. A dark background is of 
course necessary. 

The sprout is artificial and attached to a 
weighted spike in order to make it stand upright 
in the sand. 

After the roses have been tied on to the bush, 
it is bent down inside of the tabouret, and secured 
there by means of the catch. 



AN INSTANTANEOUS ROSE-BUSH 


153 


And now the sheet of glass is shown, and placed 
on the top of the tabouret. The flower pot is 
exhibited, and the sand poured in’and and out if 
desired. It is then put on the sheet of glass in 
such a position that the bush will swing up and 
appear as if growing in it. 

The small sprout is palmed in the right hand, 
and as the cloth is spread out in front of the flower 
pot, it is dropped into the sand. It will drop 
straight on account of the weight, and remain up¬ 
right when the spike buries itself in the sand. 
This movement will require practice to make the 
sprout fall true. 

As the cloth is again shaken and spread out, 
the foot is held over the pedal. The instant the 
cloth is in front of the flower pot, the foot presses 
the pedal, and the bush quickly swings up into 
place. 

The sprout hides the space between the bottom 
of the bush and the sand; in fact it looks like 
the stalk of the bush, growing up out of the sand 
(Fig. 2). 

The flowers are now cut off with the scissors 
and handed out, which will divert the attention 
of the audience from the tabouret. 

PATTER 

India, with its turbaned millions, is the Land 
Of Mystery. One of its most carefully guarded 


154 NEW AND ORIGINAL MAGIC 

secrets is the magically growing flower effect. 

A friend.of mine traveling through this weird 
land came across a Hindoo magican who per¬ 
formed this wonderful bit of Magic and he suc¬ 
ceeded in getting from him the secret. Just how 
he got it, as Kipling would say, “is another story.” 
However he presented me with these magic seeds 
which grow remarkably. 

This flower pot contains sand. Nothing more, 
as you may see. I place this piece of glass on 
the top of the tabouret and the pot on it. 

The handkerchief you will notice is unprepared. 
I merely hold it in front of the flower pot—so. 

There, you see, the plant is beginning to sprout. 

Once more I mask the pot— 

A beautiful rose bush! 

In order that you may smell the wondrous 
perfume of these Magic roses I shall toss them 
out as souvenirs. 

Why go to India for Mystery? 

I thank you. 


XXYI 


DIVINATION 

This is one of the few experiments which may 
be repeated any number of times without fear of 
detection. The apparatus involved may be safely 
left in the hands of the audience for thorough 
examination. 

A small casket is exhibited. It is 2!/2x5 inches 
and slightly more than five inches in height. In 
the interior, about one inch from the top, is an 
horizontal piece of wood with three holes; and 
into each, in turn, a metal bar exactly fits. Three 
corresponding holes, in a duplicate piece of wood, 
at the bottom of the casket hold the bar securely 
in an upright position. Figure 1, “A.” 

The bar of metal is of steel, nickel-plated, five 
inches long and one inch in diameter. This bar, 
it will be seen, may be placed in any one of the 
three holes, or places in the box, and when the lid 
is closed it is absolutely impossible to see the in¬ 
terior, or ascertain into which hole the metal bar 
has been placed. Three numbers, “1, 2, and 3” 
mark the places in which the bar may be placed, 
and are painted on the front of the casket to avoid 
confusion. 


155 


156 NEW AND ORIGINAL MAGIC 

After the box and metal bar have been carefully 
examined the performer leaves the room, and 
a spectator places the metal in any one of the 
three holes. The lid is closed and the catch 
slipped. 

Reappearing, the magican immediately an¬ 
nounces the correct position of the metal, without 
touching the box in any way. It is again repeated, 
and even if a “bright” member of the audience 
decides to hide the bar, and not place it in at all, 
thereby hoping to place the performer in an em¬ 
barrassing position, the magician is not discon¬ 
certed for a moment. He calmly informs the 
spectator that the experiment is to tell into which 
hole, or position in the box, the bar of metal has 
been placed and not to merely hide it. 

The exhibition and explanation of this experi¬ 
ment is simplicity itself, but the construction of 
the casket will require rather hue workmanship. 

The bar is of unmagnetized metal and is not 
prepared in any way. 

A close study of the sketches of the casket, 
however, will show that the base is constructed of 
two flat pieces, apparently nailed together with 
six tiny brads or nails. Three in front and three 
in back (Figure 1 “A”). The three in front are 
real and are driven through into the lower part 
of the base. 

The three small nails at the back, however, are 
“faked” and each is on a small movable arm, 


DIVINATIOX 


157 




















































158 NEW AND ORIGINAL MAGIC 

which extends in to the center of the base. Each 
one of these arms is kept up in an horizontal posi¬ 
tion, by the action of a tiny piece of watch spring. 
In the upper part of the base there are three 
small holes at the center. In each of these holes 
a little plunger works. Each plunger is exactly 
over its corresponding arm. When the plungers 
are pressed down against the arms, the small nails 
are caused to drop in their holes. The heads of 
the nails are thus depressed about one-sixteenth of 
an inch. Over the top of each plunger is glued 
a round piece of black velvet. 

Thus it will he seen that when the bar is put 
in any one of the three positions it pushes down 
the plunger, the arm hinges down against the 
spring, and the head of the nail is slightly de¬ 
pressed. This is the “Key” to the experiment. 
A glance is all that is necessary to see which one 
of the nail-heads is depressed, and so ascertain 
the position of the bar of metal. The depression 
of the nail-head is so slight that it is not noticed 
at all by the spectators. 

When the bar is removed, the watch-spring 
pushes the nail up again, so that the head is 
“flush.” 

The “Cross-View” will give a clearer idea of 
the construction of the casket, rather than a 
lengthy description. 

“E” is the bar of metal. 

“E” the black velvet covering the plunger. 


DIVINATION 159 

“C” the small plunger through the upper part 
of the base. 

U D” where the arm is hinged. 

“B” the watch-spring. 

“A” the nail depressed. 

In Figure 1, “B”, “L”, “M” and “P” are the 
three nails pressed up by the springs, in order to 
appear as exact duplicates of the three “real” 
nails in front. 

In exhibiting the casket always manage to have 
plenty of light, so the slight depression of the nail- 
head may be seen at a glance. 

Do not look at the casket immediately upon 
entering the room. Allow the gaze to wander 
around, until the attention of the spectators is not 
quite so keenly centered on the face. Then, with 
a quick glance, note the nail depressed. Once 
more allow the gaze to wander around, before 
announcing the location of the bar. 

Always take out the bar of metal before handing 
the casket for examination, on the pretext that 
it is quite heavy, and might drop out on some one’s 
foot. 

In regard to the hiding of the bar of metal, 
in order to fool the performer, a glance at the 
nailheads will reveal this. If all three nails 
are up, obviously, the bar of metal is not in the 
casket. 

With proper handling this experiment is most 
effective and absolutely indetectable. 


160 NEW AND ORIGINAL MAGIC 

PATTER 

You have all had the experience of thinking of 
some one and then they suddenly put in an ap¬ 
pearance. This is an example of mental coordi¬ 
nation. Their mind sends thought waves to 
yours. Your mind receives the waves and you 
then think of that particular person. This trans¬ 
ference of thought can be controlled and I shall 
endeavor to demonstrate to you just how this is 
possible. 

I have this small casket, and a bar of metal. 
This casket contains an horizontal piece of wood 
with three holes therein just large enough to ac¬ 
commodate the bar. 

You see the metal bar will fit in any one of the 
holes. And when it is in one and the lid closed 
it is absolutely impossible to tell in which position 
it is without touching the casket. 

I shall leave the room and I will request you, 
Sir, to place the bar of metal in any one of the 
three positions, close the lid and place the casket 
on the table. I shall read your mind and tell you 
in which position, either No. 1, 2, or 3, the bar has 
been placed. 

Now you have done as I requested? Very well. 
I will ask that every one present concentrate on 
the exact position of the metal. I will endeavor 
to read your minds and tell you where you have 
placed it. 


DIVINATION 161 

You can materially aid or retard me, by this 
help, or the lack of it. 

You have placed the bar in—let me see. May 
I ask that you,—Madam, concentrate a little more, 
your mind is not strictly on the subject. That’s 
better. Thank you. 

The bar lias been placed in No. 2 position. 

Am I corrects Thank you. 

We will try again. 

This time I seem to feel certain disturbing 
influences. Your minds seem to contradict 
themselves. Will you please think a bit harder 
on the position of the bar? It is in—No, not 
there. It seems to be—Now I see it—You have 
been endeavoring to frustrate me, but your minds 
have given you away. The bar of metal has not 
been placed in the casket at all. The object of 
the experiment is to tell in which position in the 
casket the bar is placed and not merely to hide it. 

Be very careful, I may read other things in your 
minds that may not be as harmless as bars of metal. 

I thank you. 


XXYII 


HAVE A SMOKE? 

This is an effect which will be found useful in 
the Magician’s home. If a few friends drop in, 
the Magician host wishes to offer them some cigars 
and cigarettes. He looks for some, but none are 
to be found. His friends without doubt know his 
magicial proclivities, and so he offers to produce 
some smokes magically. 

A small tray is shown, and by waving one hand 
over it with a flourish, there appear on the tray 
four or five cigarettes, two cigars and several 
matches. The tray is at once presented to the 
guests with the request to ‘ 4 Have a Smoke,” and 
they may remove their choice themselves. The 
tray reveals no mechanical construction whatever. 
Though the tray “does not reveal” anything me¬ 
chanical, its construction is entirely so. It is the 
familiar picture frame style, with two handles, 
and covered with figured cloth. The appearance 
of the smokes depends on slack in this cloth. The 
illustrations will have to be brought into play in 
order to successfully explain the construction. 
The wooden frame is 9^x7V 2 inches. There is an 
opening in the middle of one inch and a half the 
162 


HAVE A SMOKE ? 


163 



XXVII 





164 


NEW AND ORIGINAL MAGIC 


entire width (Fig. 1). A sliding metal piece can 
be made to close this opening or open it at will 
(Fig. 1). To one end of this slide is sewn the end 
of the figured cloth. This then runs back over a 
roller in the end of the frame over the “B” side, 
across the opening and is glued securely to the sur¬ 
face of the “A” side of the tray. 

Therefore with the slide pulled all the way to 
the end of the “A” side of the tray the cloth is 
pulled taut over the opening in the middle. By 
pushing the slide in the opposite direction, the 
cloth becomes slackened and may be pulled down 
through the opening and finally when the slide 
reaches the opening it slides the cloth together, 
thus forming a pocket on the under side of the 
tray. In this pocket the smokes are hidden. The 
slight break in the cloth is not noticed at a short 
distance due to the figures on the cloth, and the 
tray then appears to be merely covered with this 
decorative cloth. 

By holding the tray in one hand with the fingers 
underneath and by moving the slide as far as it 
will go away from the opening, the cloth will be 
drawn taut and the smokes will be lifted up on top 
of the tray, and will then rest on the unbroken 
covering of cloth. The effect is most convincing. 

Figure 2 shows the slack in the cloth as the slide 
is moved. Also the closing up of the opening and 
the pocket formed on the under side. 

In order to construct this mechanical tray a 


HAVE A SMOKE ? 


165 


good plan is to make a small paste-board model 
of tlie tray and the slide, with a small bit of pli¬ 
able tissue to represent the cloth. After experi¬ 
menting with this the arrangement of the tray and 
slide can be properly worked out in relation to 
each other. After the appearance of the cigars 
and cigarettes the cloth is kept stretched across 
the tray by means of a catch (Fig. 1) which holds 
the slide in place. 

The experimentation with the pieces of paste¬ 
board will reveal the workings of this magic tray 
in a far better manner than any further explana¬ 
tions. 

This mechanical tray can be used also very 
successfully in a performance by loading it with 
a silk handkerchief. With the tray held by an 
assistant, and the “Handkerchief Pistol” used, a 
very startling effect can be produced, for the silk 
seems to veritably appear from nowhere. Fur¬ 
thermore it can be picked off of the tray by any 
member of the audience. In either case this little 
tray will be found to be well worth any “paste¬ 
board experimentations” the enthusiast may in¬ 
dulge in. 

1. Set the tray by pulling the slide across the 
under side, and pulling the cloth down through the 
opening. When the opening is closed by the 
slide, see that the cloth which runs over the side 
that is not glued, lies flat on the top and is not 
wrinkled. 


166 NEW AND ORIGINAL MAGIC 

2. Hold the tray in one hand, with the middle 
finger on the small block (Fig. 1) attached to the 
slide. 

3. Tip the tray forward so that the spectators 
can see the surface and that there is nothing on 
the tray. 

4. With a downward flourish, and a wave of 
the other hand over the tray ; pull the slide its 
entire length, until it snaps under the catch 
(Fig. 1). The smokes will then have appeared, 
and the tray may be brought forward for them 
to make their selection. 

PATTER 

I should have something to smoke for you, but 
it seems that my supply has been exhausted. 
However, have no fear of going “Smokeless” for 
my Magical Powers will be brought into play. 
I shall see if something in the tobacco line can 
be extracted from the air. I shall use this small 
tray here. Though it is not much more than an 
ornament, perhaps it can serve a useful purpose. 

I wave it through the air—so. 

Behold. There we are. Cigars and cigarettes 
and the necessary matches. 4 ‘Have a Smoke V 1 

I thank you. 


XXVIII 


TWO AT A TIME 

The performer calls attention to a display stand 
that he lias for cards. It is a board up on end, 
covered with green felt, and supported by two 
small feet. A narrow piece of wood running the 
entire length forms a rest for the cards placed 
on the board. They show up very well against 
the green background. 

A pack of cards is handed to one of the audience 
with the request that the four aces he removed. 
This being done they are handed to the magician, 
who burns them in a candle flame. With a pistol, 
the performer takes careful aim and fires at 
the board, when two of the aces appear, resting 
on the strip. A second shot causes the other two 
aces to join their companions on the board. All 
four aces are then removed and handed to the 
audience for examination, and the board is brought 
forward. 

The lower part of the board contains the mech¬ 
anism for this excellent effect. A piece of metal 
to which is fastened the strip is covered with the 
green felt and when it is in place it looks like the 

167 


168 


NEW AND ORIGINAL MAGIC 


lower part of the felt-covered board. Four 
pivoted metal holders secure each ace. They are 
made as clips so that the cards may easily be 
removed. The illustration shows a “close-up” of 
one of the holders. It is pivoted at one end. A 
spring is attached, to cause it to assume an up¬ 
right position, when it is released by the catch, 
which holds the other end. The illustration also 
shows how the cards are folded down, and hidden 
behind the metal strip. The release catches run 
thru to the back of the board, and terminate in 
four small levers, as shown in the sketcli of the 
“Rear View.” With each lever upright and 
securing the cards a thread runs from “L” to 
“M.” This thread is just taut. The thread 
running from “M” to “N,” however, has consider¬ 
able slack in it. From “N” to “O” runs another 
taut thread. Running from “O” a thread also 
runs to the hand of the performer’s trusty assist¬ 
ant. It will now be seen that when the assist¬ 
ant pulls the thread slightly the levers “N” 
and “O” are pulled. This releases the first two 
cards. The thread running from “N” to “M” 
is now taut and so when the second shot is fired a 
further pull on the thread by the assistant pulls the 
levers “M” and “L” and the second pair of aces 
are released and make their appearance. The aces 
can then be pulled out of the clips by pulling up¬ 
wards and in the direction of the pivot. This will 
insure them being removed easily, when they may 


TWO AT A TIME 






i 


\ 








TO 

J 5 , vT 

A»»Utxnt 

mm ' v. ■■ 



9 


XXVIII 





































170 


NEW AND ORIGINAL MAGIC 


be handed for examination. The springs should 
not be adjusted too tightly. 

In performing, as described above, the board is 
“loaded” with four duplicate aces, and the pack is 
brought forward with the request that the aces be 
removed. 

The sequence of moves will run as follows:— 

1. Load and set board. Thread to assistant. 

2. Hand pack to member of audience to remove 
aces. 

3. Burn aces. Produce pistol. 

4. Fire at board. Two aces appear. 

5. Fire again. Two more appear. 

PATTER 

Allow me to call your attention to this attractive 
display board, which holds playing cards so well. 
See, how well one looks, against the green back¬ 
ground. This is far from an ordinary board, how¬ 
ever, and I shall show its unusual characteristics. 

Will you, Sir, kindly remove the four aces from 
this pack ? I do not think you will find more than 
four. However it would be well to look thor¬ 
oughly. Thank you. 

I take these four aces, so, and burn them in this 
candle flame. 

Aces always travel in pairs and I now will show 
you that though they have been burnt, the ashes of 
each particular pair are joined together. The ace 


TWO AT A TIME 


171 


of spades always is paired with the ace of hearts. 
I shall take up these ashes which I can tell are the 
ace of spades and the ace of hearts and place them 
in the barrel of this pistol. I take aim and fire at 
the board. (Bang!) 

There you see the ace of spades and the ace of 
hearts. 

Together—as I told you they would be. 

And now for the ace of diamonds and the ace of 
clubs. These are their ashes. They too go in the 
barrel. 

I fire again. (Bang!) There are the other two 
inseparables resting calmly on the board. You 
may examine them to see just how completely they 
have risen from the ashes,—“Two at a Time.” 

I thank you. 


XXIX 


THE INTERROGATABLE GOBLET 

“The Interrogatable Goblet” has been found to 
be most effective for drawing room use, since its 
effectiveness depends on the closest attention of 
the audience, and their proximity to the apparatus. 

A small four-legged tabouret, on the top of which 
is a sheet of glass, and a goblet on a little stand, are 
shown to the spectators. 

In order to show the apparent fairness of every¬ 
thing, the performer removes the small stand and 
goblet, and the sheet of glass, placing them to 
one side. 

The top of the tabouret is now detached from 
the legs, and turned up, so that the box-like 
interior may be seen to be empty, and free from 
preparation. The legs are seen also to be above 
suspicion, being merely four pieces of wood on 
end, held together by four others nailed around 
the sides. 

The top is replaced, the sheet of glass shown, 
and placed on the top. 

The small stand and goblet are now brought 
forward. The stand is supported on three little 
ball feet, and on top is a holder to secure the ped- 

172 


THE INTERROGATABLE GOBLET 


173 



XXIX 











































174 NEW AND ORIGINAL MAGIC 

estal of the goblet (Fig. 3). Directly behind 
the goblet is a metal rod with a ball on the end, 
which rises to a point just at the rim of the goblet. 
The rod is hinged at the base, and a small spiral 
spring tends to keep it from hitting the goblet, 
except when it is touched by the hand, when the 
goblet rings with a clear bell-like tone. 

The stand and goblet are given into the hands 
of the audience, who examine them, and vouch 
for the absence of preparation. The goblet se¬ 
cured on the stand, is now taken by the performer, 
and without adding or attaching anything, it is 
placed upon the sheet of glass, on the tabouret. 

The performer now steps away and commands 
the goblet to ring, which it instantly does. It will 
ring any number of times. Answer questions by 
tapping one for “yes,” and two for “no.” It 
may then be picked up and immediately handed 
for examination. Again replaced on the tabouret 
it will obey the commands of any one in the audi¬ 
ence. It will ring if the performer leaves the 
room. Any one may walk around the goblet and 
tabouret, and the instant they return to their 
seat, the clear bell-like tone is heard again. 
Many humorous situations may be worked up, 
with a great deal of enjoyment and perplexity on 
the part of the spectators. At the finish the gob¬ 
let and stand are once more handed to the audience, 
and the tabouret again dismantled. 

The principle on which this experiment de- 


THE INTERROGATABLE GOBLET 175 

pends might be called “Acoustic Misdirection” 
or a misdirection of sound. A principle very 
rarely used and yet most effective in this partic¬ 
ular instance. 

There are two goblets of exactly the same tone. 
The goblet and stand seen by the audience are 
entirely unprepared. The deception lies in the 
fact that the duplicate goblet concealed in the 
tabouret is responsible for the ringing. 

This duplicate has the pedestal cut off. It is 
then secured to a small piece of wood on which 
is also attached a small electro-magnet and 
knocker, and a small three cell flashlight battery 
(3x4 inches). In Fig. 2 “G” is the glass, “J” 
the knocker, U F” electro-magnet, “E” the 
battery, which may be easily slipped from under 
the metal band, for renewal, “H” and “I” 
the wires from the battery and magnet for the 
closing of the circuit. 

The apparatus so arranged, concealed in the 
top of the tabouret in such a manner that it tilts 
in and out, as the top and inside are shown in 
turn. The Figures 4 and 5 will illustrate the 
operation of this detail. The board on which the 
apparatus is fastened is secured to a metal sheet, 
bent at right angles, and hinged at its angle to 
one side of the “cut-out” opening in the top of the 
tabouret. The part cut out is shown in Fig. 4 
as being that square within the four crossed rib¬ 
bons, which are used apparently as a decoration 


176 


NEW AND ORIGINAL MAGIC 


on the top. In reality they hide the edges of the 
trap. 

Now by picking up the top, with the hinged 
part of the trap toward the audience, and tilting 
it back on its side, the apparatus swings out of 
the box part and is then hidden behind the top, 
which is now on its side. The trap is now closed 
by the other half of the right-angled piece and 
the interior of the top may be seen to he empty 
(Fig. 5). 

The wires in Fig. 2 (“H” and “I”) run from 
the apparatus down a corner inside the box-part 
of top to the plugs “A” and “B” respectively 
(Fig. 4), these two “plug-in” holes in the top of 
the legs, forming a connection with two other wires 
running down the legs, and terminating in two 
metal clips, on the bottom. The plugs of course 
are apparently for the sole purpose of securing 
the top to the legs, and yet cause it to be easily 
removed. 

On the floor, at the edge of a rug, are two small 
metal plates, under which fit the metal clips, on 
the bottom of the legs. From each of these metal 
plates runs a wire under the rug ending in a 
“Key” (Fig. 1), or Switch. This “Key” is con¬ 
cealed in some convenient place for a confederate 
to operate, while seated among the spectators. 

And now with the top on, and the legs on the 
floor plates,—when the “Key” is pressed (there- 


THE INTERROGATABLE GOBLET 177 

by closing the circuit), the goblet in the interior 
of the tabouret rings. 

Place the sheet of glass on the top. Then on 
it, the small stand, and goblet, with the knocker 
to the rear. Hit the goblet a few taps with the 
knocker. Then walk over to the “Key” and 
press it. The ears will be so deceived, that it 
will seem without doubt, that the goblet on top, 
is doing the ringing, even though one is con¬ 
scious of pressing the “Key.” 

Inasmuch as the knocker is hidden in back of 
the goblet, the spectators can not see whether it 
moves or not, and the deception of sound is so per¬ 
fect, they imagine it is caused by the knocker 
hitting the goblet on the little stand. Therefore 
the “Acoustic Misdirection.” 

In performing the goblet should be hit a few 
times as it is placed on the tabouret, so the specta¬ 
tors will be familiar with its tone, and when they 
hear the concealed goblet ring they recognize (?) 
it as the ringing of the goblet they are looking at. 

The construction of the tabouret requires con¬ 
siderable “exact” work. The plug connections 
and the floor plates must form a perfect connection 
so the instant the “Key” is pressed the circuit is 
completed. 

The showing of the top requires a little prac¬ 
tice, for as it is tilted back the left arm is placed 
in front of the opening, to prevent any glimpse 


178 NEW AND ORIGINAL MAGIC 

of the apparatus as it swings out. When it is 
safely “out” it is held in position by the thumb 
of the right hand, as the left hand shows the in¬ 
side empty. After a few trials this mechanical 
tabouret top will be found most practical. 

It will now be seen that since the ringing is 
controlled by a confederate in the audience, the 
commands of the spectators can be obeyed while 
the magician is out of the room. The “Key” 
may be placed under a rug and operated by the 
foot, if desired. If a member of the audience 
walks around the tabouret, the confederate should 
be careful not to cause the goblet to tap, until the 
party has his back on the tabouret, or returned 
to his seat. It is important that they do not 
discover that the knocker behind the goblet does 
not move, and so spoil the illusion. 

The ear is so deceived in this experiment that 
the fact that there are two goblets has never been 
suspected. The original tabouret has been shown 
many times in private performances, and never 
have the spectators approached anywhere near the 
real secret, i. e. two goblets. 


PATTER 

However one may feel, in regard to the theories 
of Sir Oliver Lodge and other exponents of 
Spiritualism, there cannot be much doubt in the 


THE INTERROGATABLE GOBLET 


179 


minds of most of us that there may be something 
in it after all. In other words we are not defin¬ 
itely sure—one way or the other. 

I offer you the following demonstration.—You 
may draw your own conclusion. 

Before the demonstration, however, I shall let 
you see that everything I use in connection with 
the manifestation is free from suspicion. 

This small goblet and stand. Take it in your 
own hands, Sir. 

The little knocker will hit the rim of the gob¬ 
let, and it will ring. It is perfectly unprepared ? 
Thank you. 

I shall take this tabouret apart, showing that 
it is nothing more than it seems—a four-legged 
stand. 

This piece of glass is placed on the top, and I 
will ask that you, Sir, who have the goblet and 
stand, place it yourself on the tabouret. 

I now stand away, and command the goblet to 
ring. 

You hear? It obeys. 

Will some one in the audience command it? 
You see it obeys your wishes, Madam. 

Kindly take a card from this deck, Madam. 
Hold it so all can see it. 

The goblet will now tap out the value of the 
card. The Jack as eleven, Queen, twelve and 
King, thirteen. 


180 NEW AND ORIGINAL MAGIC 

Nine taps. Is that right? Very good. 

The goblet will now answer one tap for “yes” 
and two taps for “no.” 

Was it a red card? 

Yes. 

A heart? 

No. 

A diamond? —Yes. 

Nine of diamonds. Is that correct? You see 
it never fails. Yes, indeed, Sir, go and pick the 
goblet up, yourself. It is OK? Very well. 

I shall now leave the room and the goblet will 
answer your commands. 

It behaved quite well, during my absence did it 
not?— 

Is this lady married? 

Yes. 

How many times—One, two, three, four, five, 
six. 

Here, here, this won’t do, stop! 

I should have said, “How many years.” But 
never mind telling us; Have you had enough 
for tonight?—You have? Very well, you may 
rest. 

Spirits—Begone! 

And now, Sir, will you please pick up the gob¬ 
let and see that it is merely, a harmless bit of glass 
while the knocker and little stand are but inani¬ 
mate pieces of wood and metal. And now if you 


THE INTERROGATABLE GOBLET 181 

believe there are Spirits, perhaps you are right, 
and if you do not perhaps you are wrong. 

Are you absolutely sure you saw and heard it 
all? Or were you hypnotised?—Think it over. 

I thank you. 


A MAGICAL APPENDIX 


TYPES OF SERVANTE 

1. “A.” Servante —a small shelf at the 
rear of the Magician’s table from which articles 
are obtained or deposited secretly. The type of 
Servante best adapted to this effect is the netting 
style shown in the illustration (“A”). It is made 
of metal, with netting sewn around the edges, so 
that an article dropped therein arrives absolutely 
noiseless. It can be folded for packing. 

“B.” Another type of Servante is shown in 
the sketch “B.” It is made to hold a glass of 
water, and fastens to the table with a thumbscrew. 


182 


A MAGICAL APPENDIX 


183 



Appendix ] 














184 


NEW AND ORIGINAL MAGIC 


METHODS OF PALMING CARDS 

2. “A.” The palming away of the folded card 
in this effect is quite easy, for all that is neces¬ 
sary is to flex the hand in a natural manner, to 
retain the card, and then drop the hand to the 
side. The hand should not appear stiff—it is not 
necessary, for the slightest pressure on the sides 
of the card is sufficient to secure it in place. 

“B.” A standard palm for a playing card is 
shown in the illustration “B,” where the entire 
card lies flat in the palm of the hand, which is 
flexed in a natural manner, as above. 

“C.” Those who cannot cover the card as de¬ 
scribed above will do well to study the next illus¬ 
tration “C,’* where the card is held in place by 
the thumb. 

“D.” This sketch shows the “back-hand” 
palm. 


A MAGICAL APPENDIX 


185 



Appendix 2. 


186 


NEW AND OBIGINAL MAGIC 


TO SECRETLY OBTAIN A SILK HANDKERCHIEF 

3. A rather well known, though very clever 
method for securing a silk handkerchief, after 
the hands have been shown unmistakably empty, 
is by the use of a slide drawer match-box. The 



Appendix 3. 


silk is rolled into a small ball, and tucked into the 
back of the match-box, after the drawer has been 
pulled part way out. The idea involved is to 
pluck a silk handkerchief from the flame of a 
candle. The match-box is picked up, a match ex¬ 
tracted and the candle lighted. The box is then 
closed, which pushes the silk into the palm. The 
box is then dropped on the table and the silk is 
produced by making a clutch at the flame. 








A MAGICAL APPENDIX 


187 


A BLACK ART TABLE 

4. A Black Art table is one in which there are 
one or more traps, that have no covering. The 
top of the table is covered with black velvet and 
the traps are masked by a design made by ribbons 
crossed in such a way that though a portion of 
the table top is cut away it cannot be seen for it 



blends with the rest. All being black (See 
illustrations). The traps themselves are usually 
black velvet bags, so that an article dropped with¬ 
in arrives without noise. The illustration shows 
a black art table top design with three traps. 
One on each side and one at the rear. 








188 


NEW AND ORIGINAL MAGIC 


5. Another one of the varied styles of Servante 
may be seen in the illustration. It is simply a 



Appendix 5. 


hoard heavily padded, and is most useful in ob¬ 
taining objects. The solidity recommends it for 
placing the “Automatic Release” upon. 






A MAGICAL APPENDIX 


189 


THE COIN JAR 

6. The Coin Jar is the familiar type of candy 
jar, with a glass lid (See illustration). Though 
shown empty, coins are seen and heard to appear 
in the jar. One of the spectators is then requested 




to remove the lid and take out the coins. The 
secret lies in the neck of the jar where there are 
four tiny holes bored. Two on one side and two 
on the other. A “U” shaped piece of fine wire 
is inserted in these holes. The coins are 
placed on this wire and are not seen due to the 




190 NEW AND ORIGINAL MAGIC 

design cut in the neck of the jar. A thread at¬ 
tached to the “U” is pulled by the assistant, and 
the coins drop into the jar. The jar may now 
safely be picked up by one of the audience, for 
the holes are too small to be noticed and the wire 
has been pulled completely away. 


A MAGICAL APPENDIX 


191 


“LE TOURNIQUET’’ PASS FOR COINS 

7. “Le Tourniquet” pass for Coins. Hold the 
coins by the edges, between the first finger and 
thumb of the left hand. Bring the right hand 
toward the left, with the thumb and forefinger of 
that outstretched to take the coins (“A”). 



While the hand covers the left, palm the coins in 
the left hand, and drop the left hand to the side, 
holding the right closed as though containing the 
coins. Look steadily at the right hand so that 
the audience will do likewise. Open right hand 
and the coins have vanished. 


192 


NEW AND ORIGINAL MAGIC 


THE USE OF A FORM 

8 “A” The use of a “form” under a hand¬ 

kerchief is quite useful for causing the disappear¬ 
ance of an object. Take a die for instance. A 
piece of wire is bent in the shape of a square the 
size of the die used. This is sewn in the middle 
of a handkerchief. Another handkerchief is then 
sewn all around the edges to the first. It will then 



Appendix 8 A. 
Appendix 8 B. 


appear as one handkerchief. In using this hand¬ 
kerchief the die is spread on the table near a 
black art well (See Appendix 4), and the hand¬ 
kerchief is placed over it. The die is then 
apparently picked up under cover of the hand¬ 
kerchief, but in reality it is dropped into the well 








A MAGICAL APPENDIX 


193 


and the audience suspects nothing for they see 
the “form” under the folds. The handkerchief 
is then shaken out and the die has vanished. 

“B.” The same effect may be obtained with a 
glass by using a circular piece of wire. 

“0.” A “form” may be used also for appear¬ 
ances. The production of a large bowl of water 



Appendix 8 C. 


is one of the best examples of this, A large shawl 
or foulard is used, and a mechanical table brought 
into play. The illustration will show how the 
drape part of the table is in reality boxed in, and 
slides up and down on the shaft. With the 
boxed-in part up, the bowl is hidden, and a black 
velvet cover is stretched over the top. 
















194 NEW AND ORIGINAL MAGIC 

In exhibiting the effect the performer steps 
forward with the shawl, throws it over his 
shoulder and brings the “Form” into evidence. 
The shawl is then carefully brought over the table 
top, and under cover the top is depressed and 
the velvet which formed the top brought away 
under the shawl. The difference in height in the 
“top” of the table before and after the production 
is not noticed for the bowl is shallow. 


A MAGICAL APPENDIX 


195 


PALMING A BILLIARD BALL 

9. The palming of a conjuring billiard ball is 
very simple, being held in the palm of the band by 



Appendix 9. 


slightly contracting the little finger and the thumb. 
(See illustration). 


196 


NEW AND ORIGINAL MAGIC 


THE PASS 

10. “The Pass.” After a card has been chosen 
from the deck, advance to the spectator who 
drew the card, and request that he replace it. 
Fan the deck in front of him. As he pushes the 




Appendix 10. 

card in, contrive to get the little finger on the card. 
Close the deck, taking care to keep track of the 
card with the little finger. The deck now is as 


A MAGICAL APPENDIX 


197 


shown in Fig. A. In this position it will be found 
that the uppermost part of the pack is held between 
the little finger, which is underneath and the 
remaining fingers, which are upon it. The other 
.hand now advances and covers the pack. The 
lower portion of the pack is now grasped length¬ 
wise between the second finger at the upper and the 
thumb at the lower end; the left thumb lying 
slightly bent across the deck. The inner edge of 
the pack is pressed into the fork of the left thumb 
(Fig. B). Now the upper packet is drawn away 
by slightly extending the fingers of the left hand, 
and at the same time the outer edge of the lower 
packet is lifted, until the edges of the two packets 
just clear each other (Fig. “C”). Then by the 
closing of the left hand the two packets will be 
brought together again and a complete “cut” will 
have been accomplished. Practice before a 
mirror will soon bring “The Pass” to the stage 
where it is invisible. 


198 


NEW AND ORIGINAL MAGIC 


THE FALSE SHUFFLE 

11. The False Shuffle. A false shuffle is neces¬ 
sary where it is required to keep track of a card or 
cards. Take the pack in the right hand with the 
card or cards to be kept track of on the bottom. 
Now with the left thumb pull a card from the 
deck and by drawing the hand downwards, it will 
be pulled from the deck into the left hand. The 



Appendix 11. 


left hand immediately comes up again and another 
card is slid oft* like the first. The other cards are 
now drawn away in the same manner, all being 
very rapid, however, until only a few cards remain 
in the right hand. These last few cards are then 
allowed to drop so they are once more on the 
bottom. This may be repeated several times and 
when speed has been attained the effect is exactly 
as though the cards were being throughly mixed. 


A MAGICAL APPENDIX 


199 


THE FORCE 

12. The Force. In order to “force’’ a card it is 
necessary to get that card to the bottom of the 
pack. Then insert the little finger half way down 
as in the “Pass.” Make the “Pass” as described 
in Appendix 10, but before re-uniting the two 
packets keep the upper packet slightly away from 
the lower, with the card to be forced resting on 



Appendix 12. 


it. The pack is then fanned in front of a specta¬ 
tor and he is requested to take one. Now watch 
him carefully and at the same time move the cards 
from one hand to the other, by means of pushing 
with one thumb and pulling with the other. As 
the person advances his hand to draw one move 
the cards so that the particular card is under his 
fingers at the moment he grasps for one. As his 


200 NEW AND ORIGINAL MAGIC 

fingers take the card draw the pack slightly away 
from him and continue to fan the cards, even 
after he has taken the card clear of the deck. This 
little by-play helps the illusion that he could have 
had any one he wished. “Forcing” is not so hard 
as generally supposed. After a few successful 
“forcings” the enthusiast will gain confidence. 
And confidence more than dexterity is required 
to force a card. 

Forcing decks are those in which all the cards 
are the same and may be used instead of the 
manipulations described above. 

Where more than one card is required to be 
forced a deck of cards is used which is divided into 
quarters, each quarter being all the same kind of 
cards. It is only necessary to fan any particular 
quarter to make sure the spectator takes that 
particular card. These packs may be purchased 
from any magical dealer. 


THE END 



































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